Designlife magazine, Fall 2016

Page 1

The Magazine of the NC State University College of Design

FALL 2016



IN THIS ISSUE Dean’s Message Commencement Address Celebrating a Legacy of Design Q+A with Alumna Natalie “Alabama” Chanin Water to the Fields

4 7 10 13 16

Design Style: A2W—A Perfect Pairing

18 Learning from the Real World 20 A Catalyst for Long-Term Change 22 A Transformation in Design 24 A Tribute to Marvin Malecha 26 Good Planning Makes Good Neighbors

29 Steve Jenkins: Design Takes Time 31 A Spirited Success 32 The Universal Language of Design 33 Q+A with Alumnus Tim Shih 34 A Collaborative Experience 36 Make it So—Believable! 37 An Inquisitive Mind 40 A Design Life 43 Public Interest Architecture 44 Freedom by Design 46 An Experience of a Lifetime 48 New at the College 49 Design Notes 50 In Memoriam 54 Design Scene 55 Design Influence 56 Think And Do: The Extraordinary 59 Designlife Fund 62 Design Works 63 Things We Like 64 2


Phil Freelon, lead architect for the Smithsonian National Museum of African American History and Culture, speaks about his storied career and latest projects.

Q+A with alumna Natalie Chanin, who infuses her life and her business, Alabama Chanin, with purpose, sustainable design, and the belief that one person‘s vision can make a difference.


The College of Design and the College of Humanities and Social Sciences collaborate to serve the needs of migrant workers through a partnership with Episcopal Farmworker Ministry of North Carolina.

COVER: The Smithsonian National Museum of African American History and Culture, designed by the Freelon Adjaye Bond/SmithGroup under the direction of architect Phil Freelon on the National Mall in Washington, DC Photo Credits: Alan Karchmer


For more than 20 years, Marvin Malecha was the dean of the College of Design, and his passion for design has infIuenced many. Enjoy refIections by alumni, friends, colleagues, and faculty members who applaud his many attributes and accolades.



Alumnus Randy Hudson lives a Designlife in Nantucket, MA, where he owns a unique business that has delivered well beyond his wildest dreams.

A childhood dream come true: From the age of 6, this alumnus was determined to work on Star Wars, and for almost three decades, he has been doing just that.


American Institute of Architecture Students’ Freedom by Design volunteer group worked with a nonprofit to design and build a structure to improve the lives of three severely autistic residents of a local group home.



NC State University launches a comprehensive fundraising campaign that will propel the College of Design to new levels of excellence and impact.

Stay in the loop on what’s new and what’s happening by visiting the digital version of Designlife at:

Study Abroad is an integral part of a Designlife and provides experiences and opportunities that broaden our students beyond the classroom. Learn about a new program that partners with the Royal School of Needlework at Hampton Court Palace in the UK.


Dean’s Message

“Making a Difference by Design” Mark Elison Hoversten, PhD, FASLA, AICP, Assoc. AIA

It is an honor and a delight to lead the College of Design at NC State University—a great institution with global impact. At NC State, design matters, and the College is challenged to make a difference. Recently I learned just how much impact is expected of us. During my two-day interview for the College of Design Dean position, I had a chance to meet with Chancellor Woodson. Aware of NC State’s strong traditions of engineering and science, I wondered where the College of Design fit on a STEM-focused campus. My first question was, “How can the next Design dean succeed at NC State?” When asked, Chancellor Woodson replied without hesitation, “I want you to spread design thinking across campus and take the College to the next level.” I repeat: at NC State, design matters at the highest levels.

communication. It requires that we test the broad definition of design to reach beyond traditional roles. It encourages us to explore cultural and personal identities as they relate to a sense of community. To start, we can build on existing strengths in design fundamentals, visualization, high-performance building research, coastal dynamics, public interest design, natural learning environments, and ergonomics. Perhaps ecological city design is our best hope for a sustainable future and will serve as the focal point of these strengths. No doubt more possibilities will emerge.

Steve Jobs once noted, “Design is not just what it looks like and feels like. Design is how it works.” Because the design approach balances information and intuition, it relies on both deep analysis and comfort with ambiguity. The designer moves forward through a process that seems linear, but includes many false turns and iterative feedback loops. Perhaps most of all, designers tune in to the human condition, to the joy and suffering we all experience, and to the human need for profound and abiding beauty. Indeed, all design does begin with the dance of life.

Over the coming year, the College will refine its focus and develop measurable goals and strategies. I have initiated two college-wide task forces to guide our way. The first will focus on the pedagogy of design thinking. Through design thinking, we move beyond the artifact to process and team-based approaches. What are the ways in which we can expand curriculum to continue the design thinking focus of the First-Year Experience? And how will the College of Design share our expertise campus-wide?

As designers, we concern ourselves with the intractable challenges facing our unique time and place. Hurricane Matthew reminded us of the increasing threat of climate change. Human impacts on the environment raise the question of how we will provide food, water, and energy to an expanding and rapidly urbanizing world population. How, too, will we address the dramatic cultural conflicts in the United States growing out of generations of racial bias and injustice? And how will we address the explosion of knowledge and rapidly changing technologies in a post-recession economy? I would assert that there has never been a greater need for designers on teams finding solutions to society’s urgent problems. This urgency presents opportunities for the College of Design. It mandates that we take full advantage of the range of disciplines in the college so that students understand critical thinking, teamwork, and multiple modes of 4

The second task force will focus on our strategic plan. The current plan draws heavily upon the university goals: strategic success, faculty and infrastructure investment; research solutions; organizational improvements; and partnership and outreach. Using these goals and the current plan to guide our way forward, the college plan will home in on specific and measurable strategies so that we can monitor our success as we continue to provide excellence in design education. We have been given our charge. NC State is ready for the College of Design community to take a leadership role as the university pursues both its local and global missions. I ask you to join me as we employ the power of design to solve the pressing challenges the world faces. We have the knowledge, the skills, and the process. Moreover, we bring a deep sense of compassion, justice, and beauty. Together, we will teach students to design for life.

As designers, we concern ourselves with the intractable challenges facing our unique time and place.


Letter from the Editor

Designlife™ is a publication of the NC State University College of Design through the Office of Development and External Relations. Designlife magazine is made possible through funding by donors to the Designlife Fund. The Designlife Fund inspires design excellence by advancing design thinking and design literacy for everyone. Designlife is distributed to alumni, friends, and Designlife donors. We welcome your feedback and invite submissions via email to: To receive news updates throughout the calendar year, please subscribe to Designlife online by visiting: MARK E. HOVERSTEN PhD, FASLA, FCELA, AICP, ASSOC. AIA Dean of the College of Design


Director of Communications + Marketing Editorial Director, Writer, Designer


Contributing Writer, Editorial Assistant


Digital Content + Social Media Specialist Contributing Writer


he halls, studios, classrooms, and offices of the College of Design are percolating with a new sense of energy and excitement. New is in. In July, Mark Hoversten became the new dean; we have a lengthy list of new faculty members; a new Experience Design Lab was completed (see p. 49); more than 120 new students began classes; and there is a new Capital Campaign, Think and Do: The Extraordinary, which launched last week (see p. 59). This winter, the College of Design will launch a new website, and this is the newest issue of Designlife magazine. You will find the pages of this publication full of amazing stories and successes from faculty, students, alumni, and friends. When you reflect upon the connectivity of design that is derived from the collective forces within the walls of the College, you get the true appreciation of “Making a Difference by Design,” which is the theme of this issue. Forces such as our distinguished faculty members, exceptional breadth of design disciplines and interdisciplinary collaborative studios and teaching practices, the high caliber of our students, the many successful and world-class alumni, and the awards, accolades, and accomplishments of them all—it is a true Designlife. In September, Phil Freelon [’75] of Perkins+Will shared with us his amazing work with the opening of the Smithsonian National Museum of African American History and Culture (p. 10). There are several interdisciplinary studios, the outcomes of which have provided unique design solutions that reach beyond the classroom (see pp. 16, 20, 22, 36, 44, and 46). “Water to the Fields” (p. 16) describes a partnership between ID students and the College of Humanities and Social Sciences—these students were introduced to design empathy and effective interviewing and observation techniques to understand how to design for others, as well as for cultural, societal, and design challenges faced by migrant workers. And the students used design to make a difference. Learn about alumni who are following their dreams and passions of living a Designlife (pp. 13, 29, 31, 32, 34, 37, and 40). On the island of Nantucket, Randy Hudson’s [’86] unique business and passion has reached success beyond his intention and seems to continue to flourish on its own (p. 32).

DAVE DELCAMBRE [M.ARCH ’05] Contributing Writer

As we look towards the future with great optimism, we can savor the past and those who have helped pave the way. There is a tribute to Dean Emeritus Marvin Malecha (p. 26) with personal reflections by many of his admirers.


Sit back, relax, and enjoy this issue of Designlife magazine.

Contributing Writer


Monique Delage, Director of Communications + Marketing

Assistant Dean for External Relations


Executive Director of Development


President, Designlife Board 8,000 copies of this public document were printed at a cost of $ 1.58 per copy.

JOIN THE CONVERSATION Connect with us on social media. Find us on Facebook (NC State College of Design), Twitter (@ncstatedesign), Instagram (@ncstatedesign), and LinkedIn (NC State University College of Design). Use #designlife and #ncstatedesignlife. STAY CONNECTED Designlife stories happen every day. Stay in the loop on what’s new and what’s happening by visiting the digital version of Designlife at: All year long, we will be sharing additional stories and accomplishments from students, alumni, friends, and Designlife donors. ALUMNI UPDATES Have you moved or changed positions? Please update your information with us by visiting:

Commencement Address

by Walter Havener President and Director of Design at Surface 678

Walter Havener, RLA, LEED AP

Good afternoon, College of Design graduates, family, faculty, and guests. t is a pleasure to be here, and I thank Art Rice for the opportunity to speak with you today. We are designers, artists, graphic designers, industrial designers, landscape architects, and architects. A group of creative people who have been trained to think and speak about design, process, and product. You are weavers of knowledge, not makers of threads. We must support one another in our endeavors to integrate the details of information into great designs. We must collaborate to rise above and see the big idea, to find the common needs across different professions. I believe design is the noblest of all pursuits and leads to a fulfilling life, because you can: • • • • •

weave the disjointed into the harmonious, turn awkwardness into elegance, organize the chaotic, convert wastefulness into efficiency, and refine the ugly into beautiful.

All of society will benefit from what you have learned at the College of Design and the great things you achieve going forward will prove it. Today I have the honor of filling in for Richard “Dick” Bell [’50], one of our great landscape architects of North Carolina. Unfortunately, he is unable to deliver this commencement speech, so I will attempt to honor him with my version. Graduating from the newly formed college of design as a landscape architect in 1950, Dick Bell came to design some of our most memorable spaces:

The Brickyard, Meredith College’s McIver Amphitheater, Peace College, Pullen Park, the North Carolina Aquarium, the Raleigh Water Garden Office Park, and many others. He has left an indelible mark on the region. Thirty years ago he made a statement that took me a long time to resolve in my mind—this is one of the themes I want to discuss today. Back in the early ’80s, I was at the horticulture department, busy with my education, learning plants and design. I heard Dick Bell give a talk at the school. He stated that he thought plants were inconsequential to landscape architecture, that his only concern was the design of outdoor spaces. As a young, headstrong plants person, I was upset. How could anything be more important to the execution of Landscape Architecture than the plants? How could he say such a thing? But over a lifetime of design, I was to learn that what he meant was really about the elevation of design to a higher order. That the whole of the design mattered more than the parts, and being overly concerned with individual elements may detract from the whole composition. With Bell’s career stretching for 40 years, he would have begun his first job with pencil, India ink, erasers, and Leroy lettering, on vellum. At his first interview for a job, he would have been scrutinized for his hand lettering, the lost art of hand drafting with a triangle and a chiseled edge pencil. In his early career he would use greyhound buses to “express” drawings to clients around the state. In the early 1980s he would have marveled at the fax machine. I remember cutting 7

3-foot by 4-foot sheets into 8½ inch strips and faxing them to the clients to tape back together in the field. Bell would have had a giant “calculator” called a computer in the late ’80s, he would have used CAD in the early ’90s, and in the late ’90s he would have found advantage in Adobe products. In his lifetime, Dick Bell probably saw the greatest change in technology. Even with all the change and disruptions, he still created great design. My point to you is this—you will see rapid, monumental, and disruptive changes in your career, but you will have to continue to use your training to adapt and see beyond the chatter of change and disruption. You must rise above the minutiae and distractions—technology, software, printers, computers, or whatever someone decides is necessary for you to work and think. Those things may help you communicate and manage, but they are not needed to make you a great designer. Now, I am a few years behind Dick Bell, but I also have a career in design. I want to share with you aspects of my career because I think they can help you understand the opportunities that lie ahead. I believe you will find it interesting not because I am an international design superstar—I am not—but because I have made a successful business out of design, and that is something to consider. To share my perspective on a design career, I am going to borrow the tagline from the College of Design—Designlife. By “design life,” I mean the lifelong impression of the design training you have received at the college that is now built into the architecture of your brain and character. You cannot separate yourself into different parts, be a designer “sometimes,” or switch design on and off—it’s fully on all the time. You are, for better or worse, designers. Unfortunately for your partners, your design life invades all aspects. My wife, Tammy, will gladly tell you about my 6-month journey to find the perfect coffee pot, or my endless attention to every detail in selecting cereal bowls. But I cannot help it; it’s my passion for design, and it’s the guiding force in my career. This passion is no different than what you feel right now, that zeal and intensity


for design. You are starting your career and beginning your design life, and I, after 30 years in a design life, am at my zenith. It is passion that has propelled me through all of my victories and travails. So it is easy to conclude that if you have made it through this intense and rewarding program of design training, you share with me a passion for design. I am going to take a few moments to share with you my design life, which I have distilled into five chapters. I will start my story where you are now, as I began my professional career:

Chapter One: Raw Passion It is hard for an outsider to understand the feeling you have leaving school. You have had a multi-year education on the best the world can offer in design. I left school with a “can-do-no-wrong” attitude, a bit of an ego rooted in passion. In 1987, the economy was not strong, but I found a job. I proceeded to fulfill my destiny as a great designer, to make the journals and headlines. But I soon realized that it was harder than I thought—I had not in fact learned everything; there was so much more to be learned. My intuition was weak and often wrong, my gut led me astray. I often overdesigned, cluttered, or sometimes missed opportunities. I wanted to blame management and clients for not letting me express myself, for stifling my creativity. But in reality, I was not finished learning—no matter where you go or what you do, there will be more to learn. But I persevered, learned to incorporate criticism, to see different viewpoints, and did well my first several years. I think with the emphasis of the College of Design on collaboration, teamwork, and communication, you are much better off than I was at graduation.

Chapter Two: A Passion for Doing This is a time in your career when you are given tasks and you complete tasks. Focused, concise, and unfettered doing. I requested work on projects that I knew little about so I could learn the skills. I soon discovered that my mind was nimble, and I consumed every assignment given to me. Technology came into being, and I devoured that too: hardware and new software. All this work

and productivity trained my mind, laid down patterns of recognition, and I got better and better at the tasks that were important to my design profession. I did not know it then, but I was building the schematic of my intuition, that phenomenon when design moves from conscious thought to a feeling—you can feel the synthesis rather than having to think it through. It’s a great time, so exciting, so satisfying and pleasurable to simply do. But as I got to my mid-30s, I outgrew my pleasure in simply doing and wanted more. I realized I had little control over my design life, so I decided that I should build my own business. I was now passionate about being in control of my design and time.

You leave behind the detail, the software, the chatter, and just see clearly. You will be able to articulate design with words and actions, to think out solutions in the abstract of your mind’s eye. You will be able to completely and honestly collaborate with others by sharing your thoughts and letting go of the ego, by carefully nurturing the contributions of young people—a necessary ingredient to guard against complacent analysis and stale design—and by balancing design through interactions with other professions. So that is my design life story. At 55 years old, it’s the best chapter of my design career, and for me it’s the best time in my life.

Chapter Three: A Passion for Control

I have two more pieces of advice for you today:

Having my own business was both thrilling and challenging. There is nothing better than sending out an invoice for design and going to the post office box to collect the checks paying you for that design. There is nothing about business that is not design thinking—whether it’s managing design, hiring employees, or leading the purchase of office copy machines, it’s all design to me: seamless. I gobbled up the challenges, taking the lead on design and certain production aspects of the business. I should thank my original partner, Bob Lappas, who was very tolerant of me, because I was not easy to be around. My passion for control was a little overreaching at times. But he was more experienced than me, and together we grew the firm from two to 21, slowly and surely. We constantly improved the firm and talked to anyone who would see the added value of design. Then in 2006 came our big commission, the North Carolina Museum of Art West Building expansion. That project made us a better firm with more credibility. The design business was still a challenge, but we were sailing along until rudely interrupted in 2008 by reality.

First, use what you learned in design thinking and apply that knowledge to our larger society, because it needs improvement. Only a few miles away in downtown Raleigh, there is a public institution that I believe could use a serious dose of design thinking. I know that you believe in these principles that are derived from design thinking, I just wish that more people would see the world like we must in order to create. Positive design thinking has taught you to respect differing opinions because this leads to greater understanding. You have been taught to tolerate different perspectives through interactions, taught to be compassionate to others who have problems that can benefit from design, and taught to respect and appreciate the diversity that brings vitality.

Chapter Four: A Passion for Survival All of you will probably experience a recession once in your career—it is an economic reality. But on the positive side, there is nothing like a traumatic event to sharpen the mind and turn lessons into experience. You learn to think on your feet, to be patient and calm under fire. Looking back, I do not see this period as a loss—it was another lesson in life worth learning. With hard work and perseverance, you will emerge on the other side of recession a better person and designer. I have told you all this because it has prepared me for where I am now, 30 years beyond my education.

Chapter Five: A Passion for Design Leadership The best by far of my chapters of a design life—it is truly a great place to be. In the past five years I have felt a convergence of chapters—this is when all the doing, all the lessons learned, all the experiences coalesced in my mind. Over time, my experience has built a web of connections that allow me to intuit so much, to see the forest for the trees, to understand the complexities of circumstance.

Right now in North Carolina it may seem cloudy, but I believe that if you practice what you have been taught here, you will be able to build bridges to a greater society. With the help of the design community, we can help North Carolina see sunlight again. My second piece of advice is given even while knowing that I have talked so much about how a design education influences work and profession. But you should never forget that the term “design life” has two parts: design, and life. So my final bit of advice is that you find a healthy balance between your design life and your personal life. As you build the career you desire, find time to live the life you want, one that is rich with play, family, friends, experiences, and pleasure. Manage your life/work balance in a manner that is healthy and rich, because in the end, I have learned it is about the friends and family that you are able to love. Right now, it is the love and friendship of your friends and family, but for many of you as you move on, the demands of life will become enriched by spouses and children. Life moves fast, so make the most of it. Know that the education you completed at the College of Design will serve you in any path you choose. Know that the longer you work at design, continue to learn, and weave the knowledge you’ve gained, the better a designer you will be. So go from here and find your path, use your passion to forge a straight line to where you want to go—It’s a Design Life: go and live it! 9

Celebrating a Legacy of Design


Photo Credit: Alan Karchmer

hil Freelon [’75], the lead architect for the Smithsonian National Museum of African American History and Culture, goes on the record about what this museum means to the country and his own accomplishments.

In his office nestled in a wooded corner of the Perkins+Will building outside

of Durham, NC, managing and design director Phil Freelon describes his latest project, the Smithsonian National Museum of African American History and Culture (NMAAHC) in Washington, DC. He gestures with his hands as he describes the building’s beauty—it is a shade of copper that changes throughout the day, at times as bright as liquid gold or the flash of autumn leaves, in low light more of a subdued bronze—while addressing other considerations made for the $500 million building. Given its proximity to the Washington Monument, the angle of the building’s triple corona matches that of the monument’s capstone in a playful inversion that gives unity to the site. Freelon also recounts the numerous obstacles he and the Freelon Adjaye Bond/SmithGroup faced in approaching the design—all part of a day’s (or year’s, or decade’s) work on a project of such scale. The lead architect on the project, Freelon intently explains how the Tiber Creek runs through the site, and engineers had to accommodate for hydrostatic pressures while digging out the bottom floors of the museum in order to avoid a domino effect that could have 10

left the Washington Monument leaning. He points out security considerations specific to the National Mall that would prevent the building from being vulnerable to attacks or bombings without making it look like a fortress. He details the consultations that took place regarding how the building could be lit from within without causing light pollution or overpowering the White House and the United States Capitol. All the while, Freelon, surrounded by books on civic art, copies of Interior Design magazine, Cubist and African-inspired Modern Art prints, and the jazz albums of his six-time Grammy nominated wife, Nnenna Freelon, displays remarkable equanimity. Whether he’s speaking about his firm, The Freelon Group (which joined Perkins+Will in 2014), his childhood, or his entry into a white-male-dominated field, Freelon exudes confidence and humility. In fact, what he says about being recruited to NC State and finishing at the top of his class applies to much of his career: “It was fun. It didn’t seem hard. I was looking for the challenge.”

“Where I Should Be” Freelon, 64, grew up in Philadelphia in a family that highly valued the arts. His grandfather, Allan Freelon, was a noted Impressionist painter during the Harlem Renaissance who taught in the Philadelphia school system and became assistant superintendent for the arts in public schools in the ’50s—“a very rare thing for an African-American,” Freelon says. His parents encouraged pursuit of his artistic talents. In high school, Freelon discovered design and architecture. It wasn’t until college that he learned about other architects, including black architect Julian Abele, who practiced in the ’20s, and whom Freelon was inspired to write about in a term paper. Freelon was then studying architecture at the Hampton Institute (now Hampton University), a historically black university in Hampton, VA, and shining among his peers. “The department head noticed that I was excelling at a pace that was different from everyone else. He used his network to help me figure out where I should be,” says Freelon. That place was North Carolina State University. Then-Dean Claude McKinney, with Roger Clark, now a distinguished professor emeritus of architecture, called Freelon and invited him to the campus. Despite the disruption of transferring universities, Freelon completed his bachelor’s degree in environmental design on time and finished at the top of his class. He went on to obtain a graduate degree in architecture at MIT and received a Loeb

“I feel honored and privileged to have been able to contribute in a meaningful way to its conceptualization and realization.”


Pictured: Phil Freelon inside the NMAAHC. Photo Credit: Mark Herboth

Fellowship to complete a year of independent study at the Harvard University Graduate School of Design. Freelon, a Fellow of the American Institute of Architects, founded The Freelon Group in 1990. He became known for large public projects—classrooms, offices, libraries, airports, and public health buildings, as well as museums and centers focused on African-American history and civil rights. In 2007, Freelon Bond (a collaboration between Freelon and Max Bond, who died in early 2009) was asked by the Smithsonian to prepare predesign and master planning for the NMAAHC. When the Smithsonian announced its international competition for the final design of the building, British Ghanaian architect David Adjaye joined the team to form the Freelon Adjaye Bond/ SmithGroup. The trio became one of six teams to present a concept exhibited in public at the Smithsonian Institution Building. By this time, Freelon had more than 25 years of experience. “I feel like I had been preparing for this my whole career,” he says. They won the competition in April 2009. Flash forward to this fall, nine years after the predesign Freelon participated in. On September 24, the NMAAHC opened its doors with a dedication by President Barack Obama and a three-day music festival. The museum is on track to receive a LEED (Leadership in Energy & Environmental Design) Gold certification. It is so popular that advanced passes are unavailable through March 2017, and hopeful visitors may only obtain same-day timed entry passes by arriving promptly upon opening. “It’s a legacy project,” says Freelon. “I feel honored and privileged to have been able to contribute in a meaningful way to its conceptualization and realization.”

Architecture that Tells a Story While the NMAAHC’s most iconic feature may be its copper-toned corona, an homage to African American ironwork in the American South arranged in three inverted tiers like the headdress on a West African Yoruba statue, there are countless other nods to the saga of African-American history. The museum, which was first conceived of more than 100 years ago in 1915, begins four stories underground with an introduction to the era of Slavery and Freedom. As visitors advance, they move through the Era of Segregation to 1968 and Beyond. “The architecture is helping tell a story in a linear fashion, so this idea of upward moving and ascension is another way that the design speaks to the culture and the message that we’re trying to convey,” Freelon says.

A feature in the museum’s concourse is the Contemplative Court, a cylindrical fountain that splashes into a pool, filling the area with the sound and motion of moving water. “[It’s] a subtle reference to the middle passage,” Freelon says. It also honors the “[African] notion that water has a spiritual connotation to it, a cleansing connotation. It’s intended to be a place of respite and reflection.” Freelon also describes a 230-foot porch on one side of the building. “We looked at the importance of the porch in Southern architecture and architecture in general as a place of gathering and as a place to see and be seen and a way to engage people along the Mall who may be going from the National Air and Space Museum to the Washington Monument,” he says. “Well, if they’re passing by and they see this compelling, welcoming place, they may go in.” The museum, which has the distinct honor of occupying the last buildable site on the Mall for a structure of its size, is not a solemn monument so much as an exultant one. Of the 36,000 artifacts in it, there are dark reminders of slavery and violence—shackles small enough for a child’s wrists, the casket of Emmett Till—but also symbols of hope and change, like Harriet Tubman’s shawl, a Tuskegee airplane, a fedora worn by Michael Jackson during his Victory tour, and uneven-bar grips used by Olympic gymnast Gabby Douglas. “We wanted the building to be celebratory as opposed to something that’s heavy and dour,” Freelon explains. “Now, telling the truth is important—we don’t want to shy away from the difficult stories and history—but it’s not about the perpetrators and victims and slavery. That’s part of the story, but I think the more important part of the story is resiliency and triumph in the midst of in many cases very difficult circumstances.”

A TIMELINE OF PROJECTS AND ACCOLADES (partial list): • 2005 Reginald F. Lewis Museum of Maryland African-American History & Culture, Baltimore, MD; and Museum of the African Diaspora, San Francisco, CA • 2008 Durham Station Transportation Center, Durham, NC

• 2009 Thomas Jefferson Award for Public Architecture from the American Institute of Architects; Harvey B. Gantt Center for African-American Arts + Culture, Charlotte, NC; North Carolina Central University, Biomanufacturing Research Institute and Technology Enterprise Facility, Durham, NC; and became Professor of the Practice at MIT’s School of Architecture • 2010 Anacostia Library, Washington, DC

• 2011 Durham County Human Services Building, Durham, NC; North Carolina A&T State University, General Academic Classroom, Greensboro, NC; and Tenley-Friendship Library, Washington, DC • 2012 appointed to a four-year term on the U.S. Commission of Fine Arts by President Obama; and Morgan State University, Center for the Built Environment and Infrastructure Studies, Baltimore, MD • 2014 National Center for Civil and Human Rights, Atlanta, GA

• 2016 completed renovations of Emancipation Park, Houston, TX 12

Paving the Way in Architecture and Unity Freelon, who designs furniture in his free time (he calls it “just small architecture”) and plays on an over-35 basketball league, is already deeply involved in a new project: an expansion of the Motown Museum in Detroit, which currently resides in “Hitsville U.S.A.,” a house that once was a recording studio. “We’re adding about 45,000 square feet, including all new exhibits, and we’re refurbishing the house so that the legacy piece is part of the experience as well,” he says. The expanded museum is slated to open in 2018, and like his work on the NMAAHC, Freelon sees it as an opportunity to reveal the positive outcomes of history and moments when the nation has come together. “Someone once said, ‘Motown is the heartbeat of America,’” Freelon recounts. “During a time when we were experiencing a racial divide and violence, here was a music and a movement that transcended it, that brought people together. We need some of that now. You open up the paper and you read or turn on the news, you could be back in 1968.” Freelon is reflective when he considers how race has played a part in his own path to success. Despite noting that fewer than two percent of licensed architects in the country are black, he reasons, “When it rains outside, it rains on everybody, and you don’t complain, ‘It’s raining on me’—you just open your umbrella and move through. I could probably sit here and cite a few examples of things I felt were wrong or shouldn’t have been obstacles because of who I was or where I came from, but that doesn’t do much good because those challenges are going to continue to be there. What I’m trying to do is to pave the way for the next generation to come into the profession and thrive and grow.” An ornate panel rests against a bookshelf in Freelon’s office—a replica of the panels on the NMAAHC’s corona. Items like these will go into his home as a celebration of the works of African Americans and a reminder of the somber legacy of slavery. He hopes others will come to better understand this legacy as they visit the NMAAHC and other works to come. “Given where we are in this country and some of the difficult issues around race we’re seeing, including the Black Lives Matter movement, this museum coming online can be one of the things that can work toward healing and reconciliation,” Freelon says. “That’s one of my hopes, that by recognizing the value of everyone, we would move toward a more unified country.”


atalie “Alabama” Chanin [BED ’87] has lived and worked in the fashion industry all over the globe, from New York’s Seventh Avenue to India. In 2000 she established Alabama Chanin in Florence, Alabama. Her business now includes her collection, the School of Making, the Factory Store and Café, and Building 14 Design and Manufacturing Services. by Monique Delage

Natalie Chanin practices sustainable fashion, creating clothing from the ground up. All of the materials used in her garments are 100% organic cotton, sourced sustainably “from seed to fabric.” Alabama Chanin hires local women and artisans, especially former seamstresses who’ve lost their positions to overseas workers. The business aims to keep Southern making traditions alive, and works to bridge cultural and economic gaps. In 2013 Chanin was the winner of the CFDA/ Lexus Eco-Fashion Challenge, which recognizes American designers of sustainable fashion. She spoke with Designlife about what led her to “slow fashion,” being mindful of the history and culture behind cotton production in the South, and the philosophies behind her work.


I’ve read that one of the first things that put you on the map towards success was tearing up T-shirts and hand-stitching them back together using the traditional quilting stitch. Was this the beginning for you? What led you to this, and did you have any expectations of what would transpire?

Your business has grown substantially and now offers workshops, educational programming, and free patterns through the School of Making. What led you to include “do it yourself” (DIY) options?

NC: I think most of us have had the experience of not having lots of money

NC: The DIY arm of Alabama Chanin really


for shopping and, at the same time, being uninspired by what is in our closets. In my case, I had been living abroad for years and was a recent transplant in New York City, so I really didn’t have much. When I was planning what to wear to an upcoming party, I wanted something new and special. I didn’t have much money, and so I did what I’ve always done, which is find a way to use or repurpose the resources I do have. New Yorkers are notoriously difficult to impress, so when people responded positively, it led me to think in a whole new way. There was no plan, and all these years later, any expectations I may have had have long since been surpassed.

resulted from taking the time to listen to our customers. The growth began to happen organically when we started conversations about making and sustainability and craft. After we published our first book, Alabama Stitch Book: Projects and Stories Celebrating Hand-Sewing, Quilting and Embroidery for Contemporary Sustainable Style (Stewart, Tabori and Chang, 2008), we immediately started getting feedback from those who wanted to make our garments and were looking for more resources to do that. 13

Companies that grow and sustain themselves for years (or generations) do so because they listen to their customers and help guide those customers to the best possible outcome.


Growing up in the South is complicated, with not only its charm and culture, but its history and struggles. What led you to return to Alabama and establish your business in Florence, and how do you navigate these struggles as Alabama Chanin grows?

NC: The South is a complex place. Like most young people, it took age and

distance for me to get a better perspective on what it meant to grow up in the South. My journey, like that of most other southerners, is not just in the past. I’m still learning how to navigate its complexities as an individual and as a business owner—particularly one who works primarily with cotton. Cotton itself is a commodity, but it is one that we used to create a system where our culture benefited from the free, dehumanizing labor of other human beings. I can’t choose to opt out of that history. But I hope that we are part of the growing story that honors the past and writes a new future. Alabama Chanin’s story is about community—about helping empower our local community economically, and acting responsibly as part of a global community. Though we are located in the South, I see us as living in global times, and we have a responsibility to our global village. Purchasing a cotton T-shirt in America today can have positive or negative outcomes in other places across the globe. As producers and consumers, we are part of that story, whether or not we choose to acknowledge it. Both producers and consumers have some choice as to what role we play in that story.


If you could choose one word to describe yourself, what would it be? How does this word permeate all that you do in your creativity with design, your work, your community involvement, and your life?

NC: I would like to say “thoughtful”—though I must leave it to others to

judge how well I fit that description. I can say that as a designer, a mother, and a member of my community, I consider each decision I make with great care—because the outcomes affect others besides myself.


Did you experience any “ah-ha” moments that led you to design and design school?

NC: Looking back, I guess there were many tell-tale signs, but I don’t

think that there has ever been that “ah-ha” moment. My work as a designer is more like a long string of decisions that brought me to today.


What can you share about some of the influential learning experiences you garnered from the College of Design? And how you use these tools in your design process, your business, or your life.

NC: Process and craft were at the core of my training at NC State. These

two things balanced by the industrial training at the School of Textiles. These combined to give me a special balance of skills that I still use every single day.


What inspires or influences you?

NC: Inspiration is complicated and always changing. I try to stay open to the

world around me so that I find new sources of inspiration. I am a voracious reader, and several of my collections have been rooted in literature and storytelling. And I am always influenced and inspired by my family, my Alabama Chanin team, and our community.


Your ability to “elevate” simple materials through pattern, stitch, embellishment, and manipulation is so impressive and true to who you are. How is your process or thinking informed by this design sense?

NC: There is beauty in simplicity, and even the most elaborate garments and

patterns can be built upon basic techniques and simple stitches. But, just because something is simple doesn’t mean it isn’t important. When you build a business around such a philosophy as sustainability or slow design, as we strive to do, every small step is important, every material is important, and every person who is part of the making process leaves their mark on the work.


What advice can you give to young designers who want to start their own design business but don’t know how to begin? Was there a starting point, or did it evolve naturally for you?

“Process and craft were at the core of my training at NC State.”

NC: It’s important that young de-

signers who want their businesses to survive learn how to stay lean. There is beauty in art and in creation, but you can’t feed your family on beauty alone. I’m constantly advising young designers to ask what Pictured: Natalie Chanin they really want to accomplish and to learn to understand finances. You will spend much more time trying to learn the mechanics of running a business than you will at a table creating designs. Truthfully, I did not always have a plan, and that meant I had to fall down and pick myself up, more than one time. I had to learn things on the fly. It is possible for some people to build a successful business by “bootstrapping.” But, if you want to give yourself the best odds for success, you need to be proactive and make a business plan, decide on a basic financial strategy, and build relationships whenever you can.


about food, and I questioned whether it was possible to approach design the same way. The more I learned about sustainability and global health, the more some of those philosophies crept into my work. And once you understand some of those concepts, to ignore them is to purposely turn a blind eye to them. It is undoubtedly harder work to produce sustainably and be accountable; it is also more time-consuming and expensive. But our work is worth more when we hold ourselves to those high standards, and our customers absolutely recognize that.


Sustainability, accountability, and awareness for all things, not just fashion, are concepts applied wholeheartedly in your work. What influenced you to follow this way of life?

NC: Just to keep going step-by-step… ever moving forward.

NC: It was a gradual process, and as I learned, I slowly changed the way I do


business. As a designer, I repurposed materials from the very beginning. But I saw the Slow Food movement develop and change the way people thought

What’s next for Alabama Chanin? For you?

Is there anything else you would like to share with our readers?

NC: Thank you for thinking of us, and for following along. 15

Photo Credits: William Reuthers

Water to the Fields


he ecclesiastical nonprofit Episcopal Farmworker Ministry of North Carolina (EFwM) serves migrant workers and their families in 47 labor camps in Sampson, Harnett, and Johnston counties. Its mission includes improving the lives of these workers, who account for more than 85% of farm cultivation and the harvesting process in North Carolina and are faced with human rights and health challenges, food insecurities, inadequate wages, dangerous and exhausting work conditions, and pesticide exposure, among many other issues. Exertional heat illnesses (EHI), including dehydration, heat stroke, and heat illness, all of which result from a lack of hydration, extreme temperatures, sun exposure, and physical exertion, are particularly threatening to this demographic. Workers are in the fields from dawn until late afternoon during the seasons of most extreme heat and humidity in North Carolina. EFwM implemented resolutions to address these concerns by educating workers on the need to hydrate throughout their workday, placing water coolers on work sites, and providing small bags to carry bottled water. Unfortunately, these efforts were largely unsuccessful due to cultural barriers and other working constraints. The 16

bag (pictured at left) relied on a belt or strap to be attached and could only hold one bottle that would easily fall out; furthermore, it hindered the picking pace of the workers, who are paid based on productivity. Juan Carabana, Interim Executive Director of EFwM, and Jerry Hartzell, a Raleigh lawyer, volunteer, supporter, and advocate for migrant workers, decided to do something that could provide a needed resolution for these workers. Carabana reached out to Professor and Department Head of Graphic Design and Industrial Design Tsai Lu Liu to see if there was potential to collaborate on a design solution. Liu met with the pair and was, he says, “intrigued by their endeavors and realized it could be meaningful for students to take on and learn from this experience.� Realizing an interdisciplinary opportunity, Liu contacted Assistant Professor Shea McManus, whose focus is cultural anthropology, from the College of Humanities and Social Sciences. Liu’s goal was to have McManus collaborate with Associate Professors of Industrial Design Bryan Laffitte and Carolina Gill, who were co-teaching ID201, a mixed studio of ID sophomores and beginning track 3 graduate students, to develop a unique curriculum that partnered with EFwM. The objective was to introduce design empathy to students and expose them to effective interviewing and observation techniques to gain a new perspective in designing for others.

“I saw this as an opportunity for students to address design efficiently and economically to solve the challenges of these deserving migrant workers. It could be a product, a system, or a combination of both,” stated Laffitte. The project was introduced with a four-week time frame that required students to be focused and agile in their research, ideation, and design solutions. There were two site visits that provided the opportunity to develop documentation and observations that would be critical to begin their design ideation. Students also were able to interview workers and members of the EFwM team in order to better understand the complexity and scope of the situation. Prior to the site visits, McManus spent time preparing students with the introduction of ethnography. This included educating the students in how to observe in a non-judgmental, unbiased, and unintimidating manner, and how to conduct interviews in order to understand the perspective of the end-user. She presented a mock-project incorporating the Talley Student Union in order for students to implement what she discussed, including taking notes, using documentation such as photography and recording, and thinking about their roles once they were on-site with the migrant workers. At Talley, McManus asked students to see how they could redesign the food court. For William Reuther (grad ID candidate), this was an important aspect of the project. “I was fascinated by learning about anthropology and how it plays such an important role in design,” he says. “The idea of focusing on people and what they do and how they do it, first—and then thinking about design afterwards—as designers, we initially think about the design.” McManus was pleased to participate and to provide students the tools to gain insight into how to implement meaningful change through engaging with the people the design will serve. “This is exciting, because it’s a real-world application, and it’s great to see both disciplines coming together,” she says. “[We’re] getting students involved in participant observation in the design process and the design benefiting the end-user.” Much of the studio incorporated new learning opportunities for students, including field research and documentation techniques, empathy design, cultural diversity, and the idea of mind mapping. “This [mind mapping] is where you take all the problems you notice during the site visit and put them in the center [of your documentation],” says Reuther. “Every single problem and solution you can think of.” The idea is to organize data into ‘like’ categories—grouping similar problems and similar solutions. These can be refined and pared down to manageable possibilities that can then be pursued as design solutions.

Cultural differences between the students and workers from Mexico added an element of complexity, and so did the language barrier. Fortunately, Gill and Judith Amparo Rodriguez Azar, the Teaching Assistant for the studio, are not only bilingual but from Colombia, which made them sensitive to cultural disparities. Hartzell, representing EFwM, was on-site to learn what each of the students or teams came up with for their design solutions during the final presentation. Solutions ranged

Left: Example of ”mind mapping” Above: Reuther’s EHI first aid kit

from pouches for water bottles, monitoring systems for hydration levels, high-tech fabrics that provided cooling, systems that provided water distribution, and a first aid kit. Reuther produced a bilingual first aid kit that addressed the symptoms and solutions of heat illness. He made his prototype from scratch by first creating a pattern for a flexible and roll-like kit, sewing it together, designing graphics that were visually identifiable with little need for copy to address the bilingual requirement, applying his graphics via silk-screen, and including items that addressed and resolved heat-related illness. His EHI kit can be produced for under $20, can be attached to anything for easy access, and addresses many of the problems realized during the site visit. “The students’ designs for water carriers, clothing, and heat-related aid are creative and intriguing,” said Hartzell. “We look forward to sharing the designs and ideas, and are grateful to Bryan and the class for their work.” 17


A Perfect Pairing esigners Angéle Gray [BAD ’16] and Annie Gray Gibbs [BAD Senior] collaborated this spring on a fashion line for the 2016 Art2Wear (A2W) event, the College of Design’s 15th annual student-organized runway show. Vert, a collection by Gray modeling aspects of formalism and modern art, featured accessories crafted by Gibbs that perfectly complemented the clean lines, minimalist colors, and bold materials of the clothing. The fusion of their designs was a perfect blend of style and daring. In person, the two are energetic and communicate without saying a word through glances and body language. They finish each other’s statements and generally complement one another as co-designers. “We’ve come to a point in our collaboration that we help each other and appreciate each other’s talents,” Gibbs says. “Usually there’s a 50/50 collaboration in the traditional fashion design process, but this is different—we are each working on our own lines that can stand alone but work better together,” interjects Gray. Although the two women had intended to participate individually in A2W, their collaboration grew out of a conversation Gibbs had with Justin LeBlanc, assistant professor of Art + Design and the faculty advisor for A2W, and Katherine Diuguid, assistant professor of Art + Design. They suggested that Gibbs speak with Gray. “They both encouraged me to pursue metal work with my jewelry and accessories and were the catalyst for our collaboration,” Gibbs says. “They really understand the design process and how to influence students and get the best out of them.” Gray and Gibbs met and quickly became a team. Their partnership for A2W grew organically as they discovered how to blend their ideas without losing what made them original. Gray drew inspiration for her collection from her travels in Europe. While studying abroad in Prague, she ventured to Paris. On a walking tour in Montmartre she discovered she was in front of the house Vincent van Gogh had lived in and frequently used as a background for 18

many of his paintings. There was a copy of one of his sketches, and it prompted her to take a picture of the rooftop view with a composition that mimicked the sketch. This photo later became the inspiration for her collection. The color palette and the historical significance of the era provided guidance for her designs, which featured formalist black, white, gold, and gray patterns with green accents. “I like Formalism and Modern Art because they are purely aesthetic. They focus on the question of, ‘does the design have line, color, texture, and composition? [They employ] clean lines and balance, but there is not much meaning,” she states matter-of-factly. “Clothes and art are meant for enjoyment; both the pattern and the silhouette [within my collection] are based on this, and the actual construction is based on the deconstruction of building a garment.” Gibbs approached the show from a different direction. “I always wanted to do A2W. It was one of the reasons I came to the College of Design. I was initially focused on fashion; however, I was interning with a local metal smith, Sarah Tector (, and I loved it. I had a total change of heart about A2W. I enjoy the process of accessories and metal far more than fashion. It’s a one size fits all,” she says passionately. This year’s A2W theme was “The Virtue of Obsession.” Designers were asked to develop their collections based on the inspiration of what obsession means to them. Gray’s collection, Vert, included eight signature pieces influenced by modernism and the basic elements of color, line, composition, and texture. “This collection is an obsession of Formalism in Modern Art and is a true test of aesthetic refinement,” states Gray. “Vert” is French for the color green, which served as her accent color throughout the collection.

Gibbs designed the accessories that accompanied each of the pieces within Gray’s collection. Her oversize geometric metal designs on earrings, necklaces, bracelets, and handbags complemented Gray’s straight lines and deliberate cuts. There is deliberate synthesis as well in the materials used by each—inspired by an internship with Tibi, a luxury women’s label in New York City, Gray chose fine fabrics for her garments, including raw silks like gauze, chiffon, and suede, a synthetic crepe, and leather. For the accompanying accessories, Gibbs selected suede, leather, and cowhide, and learned to work with brass. Both women picked up new skills as they prepared for the show. “I’ve experimented with

enameling using a black hard lacquer (metal paint), hand sawing, and learned [to use] the CNC machine and the laser cutter for metal and 3-D printing for pendants,” Gibbs says with excitement. “Each of us seems to know some things that the other doesn’t.” Gibbs, who sold accessories during the event at the trunk show from her small business, Annie Gray Handmade, adds that, even though it’s been “too easy,” their collaboration was also a learned skill. “We learned how to work together. We are editing together and we’ve gotten to a point that it’s a seamless thing—we communicate so well, we have found our groove.” Gray interjects—“We share a brain.” Ultimately, the experience of collaborating for nearly a year was not only remarkably rewarding for the women on a personal level but also fruitful in developing a ready-to-wear line that came together impeccably. “The addition of accessories [to the collection] brings [it] new life. I didn’t want them to be ‘matchy-matchy’ in a systematic way,” Gibbs says. “Each look can stand on its own, and the patterns are bold and rich—well curated and planned—but not under-designed.” Gray agrees that they’ve found balance in the fusion of their designs. “In the context of the outfit, the accessories have their place, nothing overpowers anything, and the eye travels

without hesitation. It’s the entire look that has been considered and refined over and over again,” she says. As Gibbs expands her contracts for Annie Gray Handmade to boutiques throughout the country, she considers the professional angle of participating in the show. “This has given me the client experience scenario that is important to me as a business owner. I am designing specific to this collection and it’s been a natural fit. Angéle is pushing me to be a bit bolder than I would be on my own, and it’s new and exciting. Gray hopes this and her other professional experiences will prepare her for work in the fashion industry in New York City. Both she and Gibbs feel ready to undertake professional design opportunities as a result of all they learned while participating in A2W. “It wasn’t just about creating something for ourselves—we had to learn to accept critiques and go back and revisit and re-tweak and to understand the industry standards, and we had to learn how to address them,” Gibbs says. “Learning that our ideas were valid and learning to trust ourselves was so valuable. To have men, women, and people of different ages be so complimentary of my work was a good confidence booster,” concludes Gray. “I’d do it all over again.”



orth Ridge Elementary School (NRES) in North Raleigh needed to be completely torn down and rebuilt—not great news for the school, but good news for NCSU architecture and landscape architecture students, who could mine the site for ideas for improvements and apply their training to a practical scenario. “Students like real-world experience, working on a real program that is then developed. They meet with the clients and real users like the principal and teachers and learn the language and the process,” said Associate Professor of Architecture Dr. Jianxin Hu, who has provided opportunities to his undergraduate students to participate in studio projects that incorporate various Wake County Public School System (WCPSS) sites. Hu decided last fall to engage his undergraduates in the NRES project and pair their building-focused designs with the site expertise of the Landscape Architecture studios. Teaching Assistant Professor Carla Delcambre, who was co-teaching a series of studios with Associate Professor of Landscape Architecture Kofi Boone, ASLA, also thought this collaboration would be an ideal opportunity for their graduate students to participate on a real project that offered client interfacing, working with tight parameters, and overlapping challenges. Previously Delcambre worked with WCPSS at the Leesville Elementary School campus, which provided her students with the opportunity to develop a full charrette of ideas and documentation of ways they could improve their playground and other exterior spaces. 20

Boone considered the long-term benefit students could derive from an interdisciplinary and client-facing engagement. “There is a push for more realworld experience early in their [students’] experience at college—there are limited jobs, and the more real-world experiences students can acquire before they enter the job market, the better their chances for opportunities.” With the help of Elizabeth W. Sharpe, Senior Facility Planner within the Facilities Design and Construction department of WCPSS, Hu, Delcambre, and Boone organized a joint five-week studio. Students would reap a number of benefits, including opportunities to analyze the site, work with the clients and participating parties, and conduct presentations with and interview architects from LS3P Associates, the firm responsible for the project and hired by WCPSS to lead the redesign of NRES. The existing site had a number of challenges to contend with: elementary school students had to pass between unconnected buildings in the 1970s-era campus to get from class to class, presenting safety concerns; the parking lots couldn’t accommodate carpool and bus traffic, causing heavy congestion; the surrounding neighborhood lacked community spaces, but the school’s playgrounds and fields weren’t sufficient to meet the needs; and the site itself had steep grades and drainage issues. Last fall, students toured and evaluated the site, and asked questions of key players from WCPSS, LS3P, and staff from the school. They returned to the classroom to work individually on plans specific to each of their disciplines before presenting their directions to the group. After this presentation,

landscape architecture students were allowed to self-select which architect student group they would work best with; the process produced nine groups comprised of about two architecture students and two to three landscape architecture students. Architecture students gained insights into site concerns, and landscape architecture students learned from their building-focused counterparts. “There are so many things to consider in building a school,” said WCPSS Senior Facility Planner Marcella S. Rorie [BEDA ’94, B.Arch ’02]. “One thing impacts the next thing; it is a domino effect. Being able to share this type of information with the students is important, as they may never realize it or learn about it in school.” Everything was affected by the budget. WCPSS is the 16th-largest school district By Monique Delage(and the largest in the state), with more than 157,000 students. in the country The school system is constantly renovating existing facilities and planning for new schools in one of the most rapidly growing areas of the nation. As Sherry Green, WCPSS’s Director of Facilities Design and Construction explained, “The budget is key, and the students need to hear this. We spend taxpayers’ money, and it’s imperative to keep within the defined parameters.” Working within such constraints was an important lesson for graduate landscape architecture student Jaquasha Colon, who also benefited from the studio’s interdisciplinary mix. “I want to do urban design, and landscape architecture and architecture are very complementary in this field,” she said. “I was incredibly excited, because it was my first landscape architecture project. Developing broad special ideas into patterns was so worthwhile, especially when we were able to meet the needs of the school.”

Photo Credits: Kofi Boone

LS3P’s Megan Bowles, AIA, GGP [BEDA ’04, B.Arch ’05], served as the project manager and had nothing but praise for the efforts of the College and its students. “I really appreciated what Jianxin, Kofi, and Carla were doing—the collaboration with architecture and landscape architecture students. We are always working across disciplines. [Such joint efforts] allow us to better address the issues of the community and develop more detailed and creative solutions.” Furthermore, she added, “The students’ solutions really impressed the principal—they were things we did not even think of.”

Tell Me a Story:

For Sharpe, the implications of this partnership are very real, and exposing the students to project realities, including budgetary parameters and constraints, is a unique strategy. “In the real world, these architecture students are going to have to work with landscape architects, and they have to get along to collaborate,” she said. “You have to get them ready. They need to hit the world running.” This interdisciplinary collaboration was a chance for Hu, Delcambre, and Boone to test the sequencing of the workflows between the two different disciplines, to accommodate the needs and purpose of each of their studios, and to take note of ways to improve for future opportunities. “[This] opened up discussion with our technology issues—architecture is tech savvy and landscape architecture is not,” Boone explained. “It brought up concerns about how we collaborate for technical documentation. What is the most compatible way to collaborate? We each use different industry standards, Above: Final review with faculty and now we can have discussions on and students ways to align our technology.” Left: Dr. Jianxin Hu provides feedback to a group of students.

Perhaps the greatest measure of the success of a real-world studio like this one is the opinion of the client. Principal Robert Soutter was grateful to have been able to meet the students and hear their ideas. “I’ve been amazed and pleased with the caliber of student, from their initial arrival at North Ridge; they were intelligent, conscientious, respectful, and asked some great questions. I learned so much every time I interacted with them.” 21

Aerial of Beaufort. Photo Credit: Joseph Burkett by Julie Steinbacher

stablished in 1709, Beaufort, NC, once was a thriving coastal city with an active waterfront and flourishing boatbuilding and fishing industries. Menhaden and scallops were pulled from the waters of the bay, and tourists came from inland to walk along the water’s edge and sample the delights of the seafood hub. A stroll through town still reveals historic houses with broad white porches and sprawling trees that have stood for generations, and the hum of crickets vies with the wash of waves to create a pleasing background lull. But Beaufort’s industries have largely collapsed, and for nearly a century, the third-oldest town in North Carolina has been bisected by Highway 70, which causes a social and economic divide. Jobs in Beaufort are few and far between; with unemployment ranging from 25 to 37 percent for those between 16 and 24, and service-oriented professions comprising about a quarter of the offerings, younger generations have few reasons to stay in town. Tourism and real estate largely support Beaufort, leaving some areas practically deserted in the off-season. Much of the remaining population is retired. Furthermore, 41 percent of the town exists within a 100-year floodplain. In 2014, construction began on a new bridge over Gallants Channel, which will reroute Highway 70 north of the neighborhoods it has for so long divided—and possibly divert travelers away from the town’s center, where much of the tourist activity occurs. Beaufort needed ideas for revitalization; Lauren Hermley, assistant town manager, was referred to NC State’s Coastal Dynamics Design Lab (CDDL), an initiative in its fourth year that addresses acute ecological and community development challenges in vulnerable coastal regions. Associate Professor of Landscape Architecture Andrew Fox and Associate Professor of Architecture David Hill, co-directors of the lab, were enthusiastic. “Community partners are key for us. We want to work with the stakeholders directly, to 22

create a real-world experience for the students as much as possible,” says Fox. With a project like this, the CDDL could provide “hands-on learning experiences,” fulfilling their goal of “immersing students in a particular place to deal with issues through creative problem solving,” he adds. They set a team of 18 graduate students on the case, but not before informing Hermley that their approach is somewhat unconventional. “When students come on a project like this, we give them a long leash,” says Hill. “What starts as one project can typically turn into multiple projects,” although, the projects must still work together as a whole to maintain connections and accomplish the community’s goals. Fox adds, “We did not give our students a program because we didn’t know the issues; we gave them the opportunity to do the analysis and define the project and scope, then design and solve the project through a rigorous and holistic process. This is what they will do in private practice; it forces them to synthesize what they have learned in their coursework and internships.” Before setting the students loose, Fox and Hill polled them on what skills they could bring to the table. The talented group seemed to lack proficiency in making videos. The professors decided to challenge them by bringing in Assistant Professor of Art + Design Marc Russo to train them in the basics of videography. Students worked in interdisciplinary teams to create documentary-style videos that analyzed Beaufort through the lenses of its culture, natural systems, economy, built environment, and social systems in the town. The 16-week studio included three formal trips to Beaufort, with six weeks for research and video analyses and 10 weeks to develop design proposals. With funding support from an NC State Extension, Engagement, and Economic

Development Grant, and an AIA Decade of Design Grant, the students explored the town on foot, kayaked the marshes, and got the vantage of helicopter rides to see the coastal townscape from different perspectives. They met local businesspeople, officials, artists, and residents, all of whom have a great stake in the outcome of the projects. The students presented their completed videos and ideas at Beaufort’s annual ArtWalk. For four hours, they spoke with community members about the solutions, including sharing their videos. A total of 11 proposals, from town-wide to site-specific, were presented. Some proposed projects included a plan for Water Tower Park by Keri Welch (M.Arch candidate), which incorporates repurposing an onsite building for use as a “maker space,” adding a farmers market and performance stage, and using native plants throughout the park to minimize lifecycle costs. In the event of a large Atlantic storm, the space is designed to rapidly transition into a disaster relief area. Hao “Jake” Lin (MLA candidate) suggested integrating raingardens and other stormwater retrofit devices into the extant street infrastructure to address chronic flooding issues in the historic district. Another student, Mitch Caldwell (MLA, M.Arch candidate), put forth the idea of adaptively retrofitting an abandoned fire station, which hulked in an underused area, into a medical facility or other business that will serve the community, bring more jobs, and offer recreational opportunities for residents. Beaufort Medical is an adaptive reuse of the old fire station, offering medical services and variable space for the community, including during emergency situations. By: Mitch Caldwell

“The students came in with completely open eyes and a genuine desire to help this community,” says Hermley, who appreciated the outsider perspective these 20-somethings brought with them. “The community was blown away by what the students came back with; people were amazed at the depth and breadth of their ideas. [They] make a fantastic impression across the board, holding their own with top level officials and varying levels of authority.” Working with Hermley and Beaufort was an ideal partnership for the CDDL and the students. Hill says, “Lauren and the Town of Beaufort were active participants throughout the project, and they taught our students some invaluable lessons about designing for coastal communities.” “The CDDL changed the approach I take to designing, and it changed my opinion of what constitutes meaningful architecture,” says Eli Simaan (M.Arch candidate). He adds that the focus of the design, in this case, was “finding what best serves the people of Beaufort.” Hermley has a printed catalog of the students’ ideas, and Beaufort is presently exploring no fewer than five of the proposals through the pursuit of private, public, and nonprofit funding support and engaging professional firms to move forward with the CDDL’s initial design thinking and vision. “We covered a lot of territory, offering a network of solutions rather than one solution,” says Hill. As for the students, these Capstone-like projects have put them in the advantageous situation of having professional experience and contributing ideas that they may see put into action in the next several years. “Our job is to be a catalyst for the long term,” says Fox. With these fresh ideas leading new efforts for the town, both Beaufort and the students have a lot to look forward to.

Water Tower Park is a multi-purpose community space that offers a farmers market for local produce, open-air stage, and walking and gathering venues. By: Keri Welch


by Meghan Palmer

A TRANSFORMATION IN DESIGN The late statesman John William Gardner said that history never looks like history when you’re living though it, but NC State’s Reynolds Coliseum strives to do just that. It’s a piece of living history—no small feat for an inanimate structure.

“It’s one of nine defined hallowed spaces on campus, and [one of] only three buildings that rise to that level,” says Andy Cruickshank [BEDA ’92, B.Arch ’93]. In its near-70year existence, Reynolds Coliseum has hosted graduations, exhibitions, concerts, ROTC training, and iconic sports matches. It is the progenitor of countless memories, and in 2016, “The House that Case Built” finally completed its journey to become a modern home for future memories, too. Armed with decades of legacy, athletic director Debbie Yow shared her vision of a renovated Reynolds Coliseum with architects who bid on the project, including Corley Redfoot Architects (CRA), the firm that was eventually selected to design it. Cruickshank, the architect who became Principal-in-Charge of the project, said it was the job of a lifetime. From a young age, Cruickshank carved out an identity as an NC State fan, and he grew up admiring the coliseum. While pursuing his creative passion for architecture at the College of Design, he recalls attending many games at Reynolds. His team at CRA put together a high-quality bid for the renovation project. “To be selected to work on it and transform it,” he says, “we were ecstatic.” Until it was closed for renovation in 2015, the coliseum was still in use, but it hadn’t seen many upgrades since the men’s basketball program moved to PNC Arena in 1999. It was a 24

large, cavernous space with more than 10,000 seats, and during the height of events it was often hot, humid, and echoing— attributes which earned it the nickname “the Barn.” It had no air conditioning, few windows, and a large structural column right in the middle of the main entrance—contrary to the best practices Cruickshank learned in architecture school. Post-renovation, Reynolds Coliseum has a seating capacity of just over 5,000. The overall effect is more transparent and spacious, due in part to a plethora of glass doors and partitions that surround the arena. “It needed some TLC,” Cruickshank explains. “All the exterior doors used to be solid, red, heavy doors that kind of said, ‘Yeah, you shouldn’t come in here.’ So all this glass has really made it more welcoming.” The building now houses the arena itself and surrounding areas full of hands-on exhibits that put NC State’s athletic achievements—both old and new—on display. The transition between these spaces is seamless. On the ground floor, the familiar yellow wood of a basketball court extends beyond the arena into the main hall. On the second floor, the concourse houses more exhibits and concessions that are easily accessible

regardless of which path visitors choose to take on the way to their seats. The exhibits are not simply glass boxes, dates, and stats. Some are freestanding cases that house memorabilia donated by the Wolfpack community. Some are screens that span walls and line hallways, offering interactive games, videos, and searchable databases. Every corner turned presents a new learning opportunity, and collectively they create a true historical experience. The mind behind that experience is Emily Furman Sennett [BGD ’00], who has been designing exhibits since she graduated from the College of Design’s graphic design program. As part of the firm contracted with Cruickshank’s team, HealyKohler Design, Sennett’s job was to map a storyline and a hierarchy for the decades of data that were both visually pleasing and digestible. It was a project with a much more massive scale than anything found in traditional graphic design.

Andy Cruickshank [BEDA ’92, B.Arch ’93]

“We joke that it’s not about point size, it’s about inches,” says Sennett. “So everything has to be big enough to read and legible and short enough to read. And then we still, in a graphic design way, have to create a look for the whole space so that it all ties together. This is a very integrated building, so where the exhibits meet the architecture, there are lots of details to think through.” This isn’t the first project Sennett and Cruickshank have worked on together, but it may be one of the most meaningful and emotional for both of them. “The visitors are really excited about it,” Sennett reflects, “especially the people who have a connection to the University or to the sports. When they see it come to life like this, they get really excited about it, and that’s rewarding from our point of view.” Now the building of living history breathes history, too. Or rather, it howls it—literally. As visitors move through the main entrance and approach a metallic-plated wolf pack statue that extends along the nearby staircase, howls from a speaker in the wall resonate through the halls in concert with the sound of squeaking sneakers on the court and the historic noise meter exhibit that fills the building with cheers. And a pair of wolf eyes emblazoned across the back of the arena greets each visitor as they find their seat. “That’s actually one of the first things that went in,” Sennett explains. “So even when the rest of the place was under construction, the wolf eyes were watching.” It’s a fitting reminder that the spirit of Wolfpack history lives within the walls of Reynolds Coliseum. The College of Design is proud to have alumni who helped make it come alive.

Emily Furman Sennett [BGD ’00]


Thoughts on the Absence of a Great Roaming Generalist… arvin Malecha may no longer walk our halls and spaces looking, finding, engaging, and solving the daily and the grand problems of a complex institution. But he remains a captain of industry, specifically the Design education one, which is filled with the classical challenges of administrative missions, obtaining financial resources and supportive personnel, and fostering academic achievements. An industry with the sole purpose of producing excellent people. People who will think and make their various contributions to the future of civilization through their various disciplines of Design. Marvin was educated in the noble profession of Architecture (Minnesota and Harvard GSD), often called the mother of the arts. Yet he loved and embraced a larger world, which included all of Design and the diverse arts. That is why the NC State College of Design was an ideal setting for him to explore and implement his larger ideation. He was ecumenical in his vision of seeing the greater strength of cross-disciplinary work, as both a learning experience and a professional ideal or outcome. Marvin is a dreamer and a doer. He cultivates a sense of possibility. Although a highly experienced administrator in his time at NC State, he remained untainted by the culture of “No” and always looked for ways to make things happen. He believed in the magic of imagination and creativity, not deterred by the bounds of negativity. He thrived in finding ways to achieve excellence for his faculty, his students, the College, and the University. Design was the ultimate problem-solving skill that permeated his mind, his environment, and his heart. He was devoted to his calling, and everyone he met was a potential convert to a Designlife. Marvin went about forming a community of intellectual integrity, which extended and refined the legacy of the original School of Design. He did this over a 20-year process. He helped change the name to “College” in order that it stand on equal footing with the University’s other units. It was both a psychological and a structural boost to our identity, purpose, and prestige. He stretched the muscles of an institution that began in 1948 and has grown into what it is today, largely because of his recent decades of leadership and stewardship. The College of Design is highly rated and respected in the many eyes and minds of the AIA, ASLA, IDSA, AIGA, and others. Marvin spread the concept of Design Thinking throughout his activities as Dean, and as instructor of a cherished course with that title, inspiring undergraduates from across campus. He received the most prestigious national award for teaching in Architecture, the Topaz Medallion, given jointly by ACSA and AIA. Marvin brought the College great honor and recognition through his support and nurturing of the PhD in Design Program, the Prague Institute, and especially his election to the presidency of the American Institute of Architects. Veni, Vidi, Vici… Marvin was that great roaming generalist who came, saw, and left things better than he found them. Marvin is absent, but not forgotten—in fact, he’s not even retired, but gone on to new intellectual adventures as the President and Chief Academic Officer of the NewSchool of Architecture & Design in San Diego. We will miss him greatly, and we wish him the best of luck. — Professor Emeritus of Industrial Design Haig Khachatoorian, IDSA


are exchanged regularly, across disciplines and platforms. Notions that arise in one field move into another, students explore widely, and the professional design community is highly engaged and supportive of the College. This is a cauldron of design thinking and making, of creative enterprise, and of effective results. The range of work prepared by the alumni is immense, yet they return again and again to access even more current thought that is flowing from the school. Under Dean Malecha’s leadership the College has made a real impact on design thinking and relevance across the country and beyond.

Now that I know the College and its many programs and parts better, I realize what a dramatic influence Marvin’s leadership has had. Ideas

—Mark Johnson, FASLA Founding Principal, Civitas, Inc.


first met Marvin as a graduate student interviewing for a teaching assistant position in Design Thinking. I will never forget that first meeting, and one of the first things that Marvin said to me. The students, he said, “Are bright-eyed and bushy-tailed. Some of them have never been out of their hometown. Some of them are the first in their family to go to College. They’re excited, they’re nervous, they want to experience it all, and it’s not just about Design Thinking, it’s about everything. And part of our job as teachers is to understand that.” What struck me the most about this statement was just how much Marvin understood a generation and a group of young people that were (on paper, anyway) so far removed from him. And he brought that into the classroom in abundance. I went on to teach alongside Marvin in Design Thinking for five years, and learned more from him than I can put on paper or probably even recognize. Even though he had taught Design Thinking for 10-plus years, he always encouraged me to bring my voice, a different voice, into the class. He never said “no” to a proposal (though he would tell me honestly what he thought of it). He always made me feel as though I were his equal and encouraged me to constantly try new things. Marvin taught me to never stop tinkering. He taught me that things don’t have to be perfect, but you do have

to recognize when they need to be fixed. He taught me that even in a large class, you can create an intimate environment (something he mastered; I have not). He taught me to slow down, and to breathe. He taught me to be authentic, and to see the experience of teaching as one of learning. He taught me to laugh at myself and to be comfortable with my mistakes. As a mentor and as a Dean, Marvin is equally as inspiring—his ability to cut through bureaucracy, and to have a vision and work tirelessly to realize that vision, is something I aspire to. He brought back The Student Publication after a long hiatus, and not only reinstituted it, but fundraised for an endowment to make sure it would live on. This contribution to the College, the University, and the field of Design is unquestionable—and something that students for many years to come will benefit from. His comfort and ability to see differences of opinion and understand motivations behind those differences is an incredible trait and equally as inspiring. Marvin truly cares about design and design education—his passion, his commitment, his contribution, is unquestionable. I feel lucky for having worked and taught with him. His is truly a design life. — Assistant Professor of Art + Design Tania Allen



first met Dean Malecha when I was invited to speak at the inaugural College of Design Urban Design Conference more than 10 years ago. I was immediately taken by his warmth and charm, but also by his interest in every topic under discussion that day. At dinner he drilled down into issues I had raised and we had a lively exchange of ideas. And now, many years later, I know that is just who Marvin is—engaged, interested, gently provocative, but never intrusive. As a non-alumnus on the College’s Leaders Council, I have come to know him well, have seen him in action, and have always admired his leadership.



Farewell to Marvin Toast first met Marvin in 1997, when I returned to North Carolina after being away for 20 years. As a devoted graduate of the School of Design, I carried with me a highly charged and at times much romanticized memory of the school. Who wouldn’t be a devout believer when you had professors like Duncan Stuart, Vernon Shogren, George Bireline, Paul Tesar, and Vincent Foote? This was, after all, the place that shaped my passion for design. So who was this man who was going to fill these very large shoes and our expectations of what the Dean should be? They say that with time, we find out who we have always been. With time, we are all still discovering who Marvin is. Through his actions and words as a Dean, teacher, architect, mentor, President of the AIA, advisor, and friend, we are still discovering something new about the depth of this person whom we all respect. What we have discovered so far: • CLARITY OF VISION—just take heed of his quest to continually hone the definition of what design thinking is. It’s no small feat. • INSPIRATION—just witness all the commencement speeches he has given. If they don’t make a graduate sit up straight and believe they can change the world, nothing will. • IMAGINATION—just look at Marvin’s drawings of nest ideas for Pegasus. • GENEROSITY OF SPIRIT—just listen to Marvin speak of others and find the best in them. • PASSION—just ask him about design intelligence and the beauty in the act of making. • HUMANITY—just spend a moment with him and discover perhaps the most self-evident quality that Marvin possesses. It has been said that “our minds establish expectations, and our hearts exceed them”—Marvin, your intellect continues to establish expectations, and your love of this place has far exceeded them. In the Leaders Council you gave a metaphor of finding, upon your arrival at NC State, a Gullwing Mercedes with no tires, up on cinder blocks in the backyard, and since then we have developed a brand new Gullwing Mercedes coupe that is ready to go. I would like to believe that this new model you have created, in fact, won’t need those tires, because it is capable of flying. We want to thank you for all you have given to us and to this school that we cherish, and for leaving us in a much better place than the one you found us in when you arrived. We also wish you all the best in your next adventures as you take your talents and passion to the other shore. All the best. —Turan Duda, FAIA [BEDA ’76], Principal Duda | Paine Architects 28


”Athena Nesting,” drawing by Marvin Malecha

arvin Malecha’s contagious passion for design education and quality design has deeply characterized his work and life. A devoted teacher and mentor, he has always set challenging goals and high standards, inspiring and leading students, colleagues, and design professionals. Throughout his career, Marvin has sought to educate the public about the power of design and design thinking and to create opportunities for designers through the leadership roles that he assumed in academia and the professions. He has devoted tremendous energy and determination to initiating and organizing programs that promote interdisciplinary, university/professional, and university/community collaborations. In particular, his dedication and commitment to the establishment of international programs and partnerships for design students and professionals has been admirable. A citizen of the world and a life-long learner, Marvin’s positive influence on generations of students, faculty, and designers worldwide is undeniably strong and an important aspect of the legacy of the College of Design at the turn of the twenty-first century. — Emerita Professor of Architecture Georgia Bizios, FAIA

Kevin Deabler and Eric Robinson


by Monique Delage

ollege peers, friends, business partners, and neighbors in Deabler adds, “It is what we do as principals of this firm—we collaborate and Boston’s Dorchester neighborhood Kevin Deabler, AIA [BEDA build teams of designers that fit in the puzzle. We are sensitive to this. When we ’94] and Eric Robinson, AIA [B.Arch ’96] are in the midst of find someone who works well with us, we work with them more often. It’s part undertaking their largest project yet: revitalizing a roughly of how we like to work.” 4-acre development in their very own neighborhood. The pair, both LEED“I think absolutely that our approach and collaborative style are what have accredited, are the principals of RODE Architects, a Boston-based firm they [led to] our success,” Robinson states. He focuses on the absolute necessity of started over a decade ago, with a commitment to providing understanding “what the project needs are,” whereas for Deabler: unprecedented service to their clients. The success of the project “ I think absolutely “Our sweet spot is our client relationships. It’s not so much about in Dorchester hinges on the lessons they took from NC State and that our approach the project type as it is about finding clients that trust us and work the collaborative style of their partnership. with us to accomplish common goals.” and collaborative “Kevin has wanted to be an architect since he was little. I didn’t For more than two years now, Deabler and Robinson have have that perspective,” says Robinson, who took a slightly different style are what been applying their interdisciplinary collaborative process to path to become an architect. Rather than coming directly to have led to our the pivotal $75 million neighborhood project known as “Dot NC State out of high school, he initially attended the University success.” Block.” (“Dot” refers to Dorchester, and “Block” is a nod to the of North Carolina at Greensboro. It was there that a professor recently completed development in Boston called Ink Block.) in one of his art classes suggested that he consider architecture, Dot Block is a mixed-use, residential, retail development and revitalization based on Robinson’s visible talents, and transfer to NC State College of Design. project that began with a 4.75-acre site plan and is predominantly bounded Both alumni remember the importance of the interdisciplinary approach at the by three distinct residential neighborhoods of Meeting House Hill to the core of the education and culture within the College. “The educational process south, Jones Hill to the east, and Savin Hill to the north. The project has been for me was getting to understand and harness my design and being able to turn high-profile due to its expected large-scale impact on the current community design into architecture. I still process this way now,” says Robinson. of Dorchester. 29

Both architects have participated in community service activities. “I think that it’s an interesting project for us,” says Robinson. “We are neighbors of the project and neighbors to each other. I’ve lived here for 16 years. We are both active in the community, we are on the planning board. I want to see this be successful as much for my firm as for myself as a resident of Dorchester.” A topic of concern has been traffic and the increase in density that requires solutions to address transit issues. “Our population is growing, and as we build up, traffic is an issue and we are trying to encourage alternate modes of transportation,” Deabler says. “There is not a lot of density near these train stations, and it’s important to change the community perception of living near a train station.” Transit-oriented development is increasing in areas like Dorchester, bringing with it higher-density housing, shopping options, and greater economic growth. The new housing options often include affordable housing that leads to diversity and includes young families. Catherine O’Neill, a native of Dorchester and also the Community and Government Relations liaison for the project, is encouraged by this opportunity and believes: “It’s time for Dorchester.” In an interview with Boston Business Journal, O’Neill stated, “Dorchester, for a long time, has been a place that people haven’t thought about investing in. But the developers and the owners of [Dot Block] understood our neighborhood, and they understood that it was just ripe and ready for development like this.” In mid-May, Dot Block received board approval from city officials, which allows the construction of the project to begin. The project has been approved to include mixed-use development with approximately 362 units of for-sale and for-rent housing, 450 parking spaces, and about 37,000 gross square feet of retail, all within a space that is roughly 3.95 acres. This project has received a plethora of positive and negative feedback from local residents and business owners alike. Concerns have included gentrification, density, added traffic and congestion, and the assumption that the project will increase taxes, housing prices, and rents. Supporters see the project as a way to improve the safety and appeal of the area, which currently contains a number of vacant structures; to incorporate open space; to create a more diverse community; and to expand retail shopping and restaurants that will lead to revitalization. The scope of Dot Block has shifted through several iterations and modifications based on meetings, reviews, and city regulations. In keeping with their commitment to fostering a partnership with their clients, Robinson and Deabler expect that as the project moves forward it may shift more to accommodate the needs of the community. “There is a lot of pressure and responsibility, and we are confident that the outcome will be successful. It’s an interesting dynamic—we are shaping our own neighborhood,” Robinson says.

teve Jenkins [BGD ’74, MGD ’77] grew up on the move while his father was in the military. As a child he didn’t have a lot of friends, but what he did have were books, and moments spent being read to by his parents. When he and his wife, Robin Page [BGD ’78], became parents, reading to their children was cherished time. He describes with nostalgia “the rhythm and the visuals, the turning of the pages, and the questions” which his children (now 30, 28, and 18) asked as they explored the worlds in the pages. Since the early ’90s, Jenkins and Page have published 16 children’s books, with each contributing as author or illustrator (sometimes both) to different projects. This was done in time the couple carved out of extremely busy careers. After his graduation, Jenkins was hired by branding and graphic design firm Chermayeff & Geismar (now Chermayeff & Geismar & Haviv) in New York City. He worked on a lot of great projects, which led to some freelance work that continually grew. “I got to the point that I was working all the time and I knew I had to make a choice.” In 1982, the pair started Jenkins & Page Associates. They expanded in 1994 with an office in Boulder, CO, where they reside today. Boulder provided a slower-pace, a better quality of life, and a wonderful place to raise a family. “We wanted to go somewhere where it was more balanced, not the incredible fast pace that exists in New York,” Jenkins says. In his newfound free time, Jenkins took classes, including one with Jim McMullan, the famous Push Pin Studios artist known for his posters and children’s book illustrations. McMullan discussed the different mediums design can use—illustration, photography,

by Monique Delage

etc.,—and insisted that design “has to come from a personal vision and voice that you have,” says Jenkins. Jenkins illustrated some pages for a children’s book idea and brought them to a publisher. “They bought them right away. I think it was because what I presented looked so finished.” Jenkins chalks up this level of skill and work ethic to his time at the College of Design. “One of the books didn’t go anywhere. The second one, Biggest, Strongest, Fastest, is based on my son’s questions about animals and is still in print today. I never saw this as a business. It was a personal project, and when a book published and we got our first royalty check, we realized we could get paid for something we loved.” Jenkins especially thrives on the process of producing multiple drafts of every book, to which he contributes both writing and design. “The writing process informs the design process and sometimes, it [writing review] comes later. The first few books I wrote, I rewrote four or five times. Now, I rewrite 20 or 30 times. It’s the same thing with the illustration side; it’s important to go back and reiterate.” He admits to being such a perfectionist that seeing the final product is not the high point of the process for him but the denouement. “It’s hard to open [the first copies from the publisher]; the best part is the ideation and conceiving of the idea, and then you take all your work and spread it out,” he says. His obsession with the process likely began with his enrollment in the ’70s at the then School of Design, which Jenkins discovered when his father, also an alumnus (Professor Emeritus Dr. Alvin Jenkins), worked as professor of physics at NC State University College of Engineering. “There are a lot of similarities in the design process and the science process of trying to find solutions through iterations,” Jenkins states. He expected to follow in his father’s footsteps and pursue studies in the sciences. But he was drawn in by the creative work he saw by a design student and by visiting the School of Design campus. Design looked so much more fun. “The students interested in physics were a bit dry, with slide rulers and pocket protectors.” And so he chose design school. Jenkins flourished at the School of Design under professors who sought to, as he says, “help us ‘unlearn’ what we had learned in high school and teach us how to think. They had some crazy projects that were such a refreshing change, I thought I had gone to heaven.” Several years ago, Jenkins returned to the College of Design as an adjunct faculty member. He gave a presentation to students about working as a professional and what they could expect once they graduated. “The important thing is to develop your own voice and style, which is part of the learning process,” he says. “The corollary to this is that there is no short-cut to being a designer. You can’t sit down and decide to have a developed point of view—design takes time.”

A Spirited Success Randy (Charles) Hudson [BED ’86] has always felt a connection with the land and sustainable production. He was raised in Chapel Hill, NC, and drawn to the environmental design courses for non-design majors offered by NC State’s College of Design. “Taking these classes was a great way for someone like me, who didn’t have a clear path in high school, to get the experience and exposure to something like landscape architecture,” he says. He paid his way through college by working as a line cook, and all the while thinking about sustainability and sustenance—“words I used a lot, way before they were buzz words,” he admits proudly. The practice of sustainability, as well as the notion that food was a significant element of life and a community, appealed to him. Feeling the need to get away for a bit after college, Hudson moved to Nantucket, MA, to work for a small company that specialized in landscape design build projects. For additional money he dabbled in working on side projects, and started working in first a bakery and eventually a winery. He becomes most animated when discussing recipes, and the iteration involved in developing them to produce just the right results. His experience in the bakery and winery led to experimentation with beer. He was quick to acclimate beer recipes through trial and error. “Yeast and grain are a different set of parameters for fermenting. Bread is a fermentation process, partly anyway. With wine, you are constrained by the forces of nature. With beer making, you have multiple types of grain, not just barley, oats, corn, millet—the list goes on and on. And you can manipulate these grains, roasting them and then going further up-field with fruits and spices and different yeasts. There are hundreds of variations.” The beauty of Nantucket, with its intense and varied seasons and opportunities to forage, hunt, and fish, as well as the joy of developing new brews, led to Hudson’s decision to put down roots and open a brewery. In 1995, he and his wife, Wendy, opened Cisco Brewers beside the extant Nantucket Vineyards, established in 1980. In 2000, they added Triple Eight Distillery. Hudson intended to create a local establishment, like a bakery. It would be “something small that would exist to survive on the local pa-

by Monique Delage

triotism,” he says. Little did he know, the company would evolve into a world-class producer of wines, beers, and spirits. Just last year, their products received national and international acclaim. Triple Eight Distillery’s rum, gin, and whiskies were awarded gold by the San Francisco World Spirit Competition and the International Wine and Spirit Competition. The International Spirit Challenge awarded the distillery’s Notch Single Malt Whisky 12 year a trophy for Best Single Malt World Whisky. And this year, Jim Murray’s Whisky Bible awarded the Notch 12 year 96.5 points, making it the highest-ranking single malt in the United States. “Years ago, we were a grass-roots, local company. We may have had a total of 30 people show up during an entire day. Now it’s a cultural phenomenon,” he continues. “Last weekend, we saw more than 2,000 people a day come through here. It’s kooky. We have made something that people love, and it’s amazing.” When asked about the overnight success of his business, Hudson says, “I am fortunate for sure. I pinch myself sometimes. It’s humbling and mind-numbing at the same time.” Although he was a little resistant to the idea of living year-round on a resort island that caters to the wealthy, after more than 25 years Hudson is an islander. “One of the most attractive things about the island is its tremendous sense of community,” he says. “We are open year-round, even on Christmas Day—for the locals.” And he continues to enjoy the pace of life in Nantucket. “Off-season is peaceful and just so calming—but I love it. I love when it gets quiet and when it gets busy.” Design has always been a contributor to their success. “We do graphic design for our labels, and there is the iterative design work involved in the creation of any of our recipes. We consider the design aspect of creating a place—the built environment for our customers, which includes flow of traffic and an efficient workspace,” Hudson says. “In all of our business areas, design matters.” Going forward, he adds, “We are trying to develop my interests in foraging. We have 12 acres of land, and we are trying to grow our own products.” Between designing their recipes and the design of nature, Hudson will continue brewing up recipes for success. “It’s been a perfect evolution for me. I am an organic worker for sure. I’ve been damn lucky.”

Images Courtesy of Cisco Brewery. Pictured is Randy Hudson.

The Universal Language of Design


by Monique Delage

or the past two summers, Assistant Professor of Art + Design Tania Allen and Assistant Professor of Architecture Sara Glee Queen have inverted the idea of study abroad by leading an immersive workshop at the College of Design for students from Guatemala City. Instead of sending our students out of the country, the professors host a two-week workshop on campus for visiting students from the Universidad del Istmo de Guatemala (UNIS). The second annual workshop was held in June, with 12 students in attendance (eight attended in the first year). Allen and Queen developed the curriculum together for the workshop, titled Geo: graphics, exploring design thinking, mapping, and perspectives of place, with the intent of exposing international design students to design thinking and problem-solving through a cultural experience. They asked the students, as tourists, to explore downtown Raleigh and design a tool that would allow future visitors the opportunity to experience the city as insiders. Through a series of field trips coordinated by Allen and Queen, students investigated different aspects of the city—government, politics, culinary offerings, fashion, and culture—in order to understand Raleigh’s distinct dimensions. “The first five days of the workshop were spent doing research and analysis, exploring and observing the different aspects of Raleigh and what makes it so unique,” stated Allen. “The students told us that this experience was challenging for them—the research that they usually do [back home] is often removed from the context, and focused on textures and patterns or types of buildings. They don’t go out into the environment and observe what people are doing in it.” The students visited Raleigh landmarks, museums, government facilities, local businesses, and restaurants. They went mostly by foot so they could immerse themselves in the people, the happenings, the feel of the city, and the architectural influences. On these excursions, the students took photographs and made notes about the sounds, smells, feelings, behaviors of the people, and any experiences that were similar or different than what they would see back home. Using these findings, they produced a series of maps that graphically interpreted their research, allowing them to further define their product. They also got to enjoy uniquely Southern experiences. “We went to Poole’s Downtown Diner, where they gave us a tour and the head chef spoke to the students about the food and the philosophy. And there was a lot of tasting—they [Poole’s Diner staff] were so amazing! Students got a great taste of Raleigh and upscale Southern cuisine—and of how this place is so influential,” Allen enthused. As they built their interactive tools, the students developed personas, or characters, with descriptors (age, race, language, travel experience, etc.) to serve as mediators between the users and the city, and to form a visual narrative.

Tania Allen providing student feedback

Their goal was to get even further into the mindset of a traveler by trying to understand the experience of their persona as they traveled in Raleigh. The final products included phone apps, signage, and a combination of videos, historical information, social media, user feedback, and virtual reality. One student developed a phone app she called “Art Raleigh” inspired by the architecture of the city. The app included information about historic and contemporary buildings and offered users the ability to select different languages to translate, watch videos, use maps to identify locations of specific types of architecture, and engage in user feedback and reviews posted by other visitors. The workshop culminated in a final review, during which students presented posters describing what influenced their solutions and the reasons they created the personas they used, reflected on their mappings, and presented their products. Allen and Queen engaged them with valuable feedback and suggestions on how to push their designs further as well as discussions from all participants. It was a challenge, said Allen, to develop a curriculum that could be shared and explained to others, even with a language barrier (not all of the students were fluent in English). “We had to really simplify the language of the maps and the information necessary to explain [the workshop]. How do you literally deconstruct the map to make it understandable? Explain design thinking through mapping or mapping through design thinking. That was an exciting challenge.” Next year, Allen and Queen hope to expand the program to include students from the College of Design. The visiting students from UNIS will hopefully not only study abroad but study beside NC State students, providing a valuable experience for both groups. Student posters during final critique

Tim Shih [BEDA ’94] has lived in the US, UK, Germany, Japan, and China and has worked for Volvo Trucks, Johnson Controls, and the BMW Group. He is now Senior Design Manager at BMW’s joint venture in China, with design responsibility for the venture’s sub-brand, Zinoro. We asked him how he got his start in design, why automobiles, and how he motivates his staff—as well as his advice for up-and-coming designers.

Q: How did you get interested in Industrial Design (ID)—and automobiles? TS: I first heard about Industrial Design from my cousin, who studied ID at the Rhode Island School of

Design (RISD) in the mid-’80s. My first personal exposure was when I entered the School [now College] of Design in 1990. It was while majoring in Architecture that I took the opportunity to try a swing studio in ID taught by Associate Professor of Industrial Design Percy Hooper. I enjoyed the project experience so much that it ultimately convinced me to pursue Automotive Design after completing my Bachelor of Environmental Design-Architecture (BEDA) at NC State. As for my automobile fascination, that is something that has been there for as long as I can remember. I even recall painting a blue Mazda RX-7 in the first grade. Not just a random blue sports car, but specifically a Mazda RX-7. I have no idea where this early automobile affinity came from, but it has been a constant throughout my entire life that I was fortunate enough to turn into my career.

Q: What led you to the College of Design? TS: I always enjoyed art and drawing (lots of cars, of course) and filled plenty of sketchpads as a kid. I also did well in school, and Design seemed to allow both artistic and academic pursuits to flourish together. Being granted a full John T. Caldwell Academic Scholarship helped to seal the deal to enter NC State and the College of Design.

Q: Who or what (studio, peer student, event) influenced you the most while at the College of Design? TS: I clearly recall my first semester of Design Fundamentals with Alumni Distinguished Professor of Art + Design and Department Head Chandra Cox when I entered the College of Design. She warned us that once we began the design curriculum, we would not see the world the same way again, that we would continually be asking “why?” and be looking for better solutions in the world around us. Like many curious and creative kids, I may have had that penchant already, but the College of Design taught me how to formulate those questions and develop a system to find solutions.

Q: Your career centers on the automobile industry. What about the design of automobiles fascinates or intrigues you?

TS: I think the automobile is just about the perfect scale to work on as a designer. It is compact enough

that you can step back and appreciate its sculptural form as a whole, yet large enough that you can enter and experience it from a spatial point of view. Add to that the joy of driving and interacting with the car, with the ergonomic and functional aspects that it entails. In a societal context, cars have always represented freedom and mobility, while at the same time projecting their owners’ image and identity to the outside world. Taking all of this into account, there are few objects that represent so much, on so many levels, as the automobile.

Q: You attended NC State College of Design for your BEDA; Western Washington University for a

post-baccalaureate in Vehicle Design; and Art Center College of Design for a BS in Transportation Design. Now that you’re out of school, how do you continue your learning and expand your talents and understanding of your work or design process?


by Monique Delage

TS: One interesting thing that I have realized, es-

pecially in recent years, is that the design process that I learned at the College of Design is almost universally applicable, no matter what type of problem I tackle—even if the objective is not a designed object of any kind. In the broadest terms, design is a process of optimization. For product design, this typically revolves around material and resource usage, aesthetics, timing, and cost. This methodology of understanding constraints and maximizing results can also be applied to a business strategy, or a communication plan, or even human resources: How do you maximize the impact of the capabilities within your team? This type of approach hints at the Design Thinking wave that has swept into other industries, but to me, I like that the design process can be applied to so many problems, in so many ways: from trivial daily improvements, to corporate organization, and even potential global change.

Q: In your experience, how important is

collaboration of individuals with different backgrounds and expertise in the design process? Can you provide any insights or examples of how collaboration or ideation of unique ideas has allowed a project to deliver superior results?

TS: Design is inherently a collaborative process,

both within the discipline (working with other designers to refine a concept) as well as beyond (working with other departments to put a concept into production). Because of the complexity of a modern mass-produced car, collaboration between Design and other departments is a given in the automotive industry. In fact, within the design department of every car company, there is a team of engineers, known as studio engineers or design engineers, who help to facilitate the communication between Design and Engineering. Because the majority of the design process to bring a car into production is focused on the convergence of Design and Engineering, this is a critical link. An engineer who is able to think creatively to translate a concept into reality is as essential to the process as the designer who conceives the concept in the first place. The more these two worlds can communicate and understand each other, the more successful the process—and ultimately the product—will be.

Q: What helps you to develop new and exciting ideas?

TS: Designers are naturally adept at finding

inspiration everywhere they look. Personally, I have always been inspired by travel and new cultures. Having now lived and worked in four countries and traveling regularly between three continents, I often find inspiration in the spaces in between, when I have left one cultural routine, but before I am fully immersed in the next. In these in-between times, there seems to be a more detached and objective perspective on the world around us. The things you would normally take for granted

become a little more conspicuous, and you can see things from a slightly different point of view. This can range from product design, to environments, to food, or even interpersonal behavior. Often, being able to apply concepts from one culture into another can result in new inspiration or new trends. The notion of “fusion” can work well for design, just as it does for cuisine and other cultural phenomena.

Q: As a manager within the design/creative environment, how do you challenge or encourage your staff to continually improve or innovate design solutions, or to work through challenges?

TS: I find that young designers rarely have a shortage of ideas, inspiration, or innovation. In fact the

opposite is often true. Usually they have too many ideas, and the best input a manager can provide is to streamline the design message, without compromising the inspiration or innovation within. This is slightly different from other disciplines, where quantitative contributions generally grow over time. In the case of Design, you tend to generate the most volume early in your career, thinking and sketching non-stop day and night. It is with time and experience that you learn to be more focused and efficient in your efforts, to find (or help your team find) a more concise solution to the problem at hand. It is through the combined efforts of young fresh ideas and experienced editing that a team generates both quantity as well as quality for a client or given design problem.

Q: What project are you most proud of? TS: I am currently responsible for Design at a BMW Brilliance Automotive sub-brand called Zinoro,

developing new energy vehicles for the Chinese market. This is rewarding on a professional level, as it is rare that a designer has the opportunity to help build an automotive brand from the ground up. Beyond that, it’s motivating to know that the Zinoro brand, with its electric and hybrid products, could have a long-lasting and positive impact on global environmental issues. For the 2015 Shanghai Auto Show, we debuted the Zinoro Concept Next as a showcase of the brand’s design philosophy, “Flow of Strength.” In addition to guiding the design and construction of the show car, I was also involved in the communication aspects of the project, including stage and lighting design for the auto show; photo shooting, copywriting, and press communication materials; as well as presentation to BMW management and design press. Rather than just handing over a finished design, it was also satisfying to be involved in the entire process: to design and deliver an overarching message that is not only visible in the product itself, but also in how it is broadcast and communicated.

Q: What is your advice to students just starting out in design? TS: As much as we may love the Design discipline, I think it is

healthy to maintain other interests and hobbies outside of design: music, art, technology, sports, business, whatever... All of these things inform and enhance a designer’s work. Inspiration comes in many forms, and professional longevity (as well as personal motivation) comes from finding new ideas in the world around you. The more multi-faceted life is, the more varied the sources of inspiration. This helps a young (or old) designer find and create more well-rounded solutions, with the added benefit of making him/her a more well-rounded individual in the process. Images Courtesy of BMW/Zinoro. Pictured is Tim Shih.


Sound Off: A Collaborative Experience by Julie Steinbacher

group of students in Associate Professor of Industrial Design (ID) Bong-Il Jin’s senior studio class had the unique opportunity to work with a multinational “client” on a collaborative project. Last spring, LG Electronics, a South Korean corporation specializing in electronics, appliances, and mobile devices, sought the expertise of two Korean and two U.S. institutions (NC State and Purdue University) with ID faculty who had professional or corporate experience for their Design Innovation Competition. They wanted new design ideas for Bluetooth speakers that would pair with their devices and be attractive to millennials. Jin’s class, which included 11 undergraduate seniors and nine track 3 graduate students, got to work. This assignment met the graduate students’ requirements for a branding project and served as the Capstone for those in their senior year. The students conducted market research, taking a trip to Best Buy to see what products were already available on shelves. They also spent some time trend forecasting and checked out LG’s line of speakers and the company’s sales and market position. Finally, they Pictured: Eric Dekker [BID ‘16], Bong-Il Jin, and conducted a survey among Alden Rose (grad ID candidate) students about what they wanted in a speaker, receiving 139 responses. It became evident that LG’s market presence needed strengthening, and their designs didn’t fall into the price range of $50 and under that most students wanted. “We did a comparative analysis, and we suggested a new identity and a new direction,” says Jin. While LG’s products were boxy and rectangular, Jin’s

students came up with a number of alternate takes on the speaker shape. One particular design, called “Pebble,” looked like the smooth sandstone pebbles one might find in a Zen garden. Others were hoop-shaped, cylindrical, or geometric with rounded edges. One student proposed a clip-on for portability, another a rectangular design like LG’s with an attractive diamond motif reminiscent of a paper lantern. Jin sees it as his responsibility to “give [the students] inspiration and drive them in the right direction. I may ask, ‘What do you think about this? Can you try this? Can you apply a modern element? This is better, but think about this,’” he says. “So I am guiding students to make better solutions. Refinement is really important.” A representative from LG visited the class during its midterm to select students based on their ability to present, speak, and communicate to come to the LG design facility in Ridgewood, NJ, and make a presentation. Alden Rose (grad ID candidate) and Eric Dekker [BID ’16] went with Jin on the all-expenses-paid trip, where they presented 10 projects to the directors of LG and the vice-president of the company. They listened to the presentations and considered the designs of their peers at Purdue University as well. It was expected that LG might consider three or four of the designs, although the company would make changes before incorporating these into any final project. “LG can exhibit the students’ designs, but anything they take from they must change,” explains Jin. Ultimately, the students at State will never know for certain if their designs were incorporated into LG’s products, but there is a chance the forthcoming speakers on the market may reflect their ideas. The opportunity for students to work with real clients and be exposed to the business end and parameters of a project is unique, and also incredibly rewarding. Rose, whose design, “Pulsar,” looks like a hinged book that can be used closed or open for different audio ranges, learned a lot from the class. “I found it valuable being able to occupy both the roles of creator and critic as a student, because you have to self-edit as you’re going through your project,” she says. As for presenting to LG, “I was terrified to do it at first, but [pitching] is a normal thing; especially if you’re starting a company or getting grants, you have to pitch. That was a good experience to present around professionals. It was pretty awesome having the CEO of their company look at my product, getting feedback from designers as a young designer.” Professor of Industrial Design and Department Head Tsai Lu Liu comments: “I was very impressed by the thoughtful and sleek out-of-the-box Bluetooth speaker designs created by the students through the collaboration with LG Electronics. This project provided students with a great learning experience in incorporating brand strategies, new technologies, and industrial design. This is another excellent example of the Industrial Design program’s endeavors in enhancing people’s quality of life by user-centered design.” “It’s important to have professional or corporate experience,” says Jin, who’s seen many students go on to get great jobs. “There are students that might complain because my classes can be tough; however, they will learn, and they will be able to get a job.”

Photo Credit: Ariel O'Connor


by Monique Delage

ohn Goodson [BEDP ’87] is an industrial designer, model maker, digital artist, texture artist, imagination guru, concept modeler, and visual effects enthusiast. He has worked for Industrial Light & Magic (ILM) for nearly three decades. ILM is the iconic force of visual effects and imagination that is responsible for the original Star Wars movie, as well as the colossal computer graphics in Jurassic Park. Goodson’s career is vast and impressive with four Visual Effects Society Award nominations to his credit. He has contributed to all of the Star Wars prequels (released in 1999, 2002, and 2005), and to feature films including Star Trek (2009), Transformers: Age of Extinction, Pirates of the Caribbean: Dead Man’s Chest, The Polar Express, Peter Pan (2003), Terminator 3: Rise of the Machines, Harry Potter and the Chamber of Secrets, Mission: Impossible, Men in Black II, X-Men (2000), and the awe-inspiring list goes on.

Pictured: Kim Smith, John Goodson, and Bill George from ILM working on the restoration at The Smithsonian’s Udvar-Hazy Air and Space Museum.


“I was born to do this stuff, and I love it. When I was 6, my neighbor got me interested in Star Trek, and I’ve always been fascinated by it,” says Goodson. His passion continues today. The tools and the technology have changed, but the end results are still amazing—and he wouldn’t change a thing. As one of the early designers at ILM’s Model Shop, Goodson and other modelers pushed the art and imagination of studio model making. Designers would devise unique, strange, and artful solutions to produce real-life textures on science fictional or fantasy objects, like spaceships, that made them believable when experienced on the big screen. “We are digital liars, taking all these elements from the real world—scratches and dirt, the cast of a shadow—these are details your brain expects. They enforce the illusion and inform your brain that it’s real. They imply scale to persuade your imagination.”

dump truck, what do you see? I see the mechanics of the hydraulic arm and how it actually functions. The dents, paint scratches, and details.” He continues, “I look at everything, and I do this all the time.”

“ I was born to do this stuff, and I love it.”

“It is the small details, imperfections, and complete systems that the average person doesn’t remember or identify with until they’re missing in the scene, and then it looks wrong.” These micro-details are a challenge for designers like Goodson—and a bit of an obsession. “All these things are fascinating to observe and document in the real world, and then you can apply them to building a model, or a fake spacecraft. The mechanical language must make sense.”

Prior to the computer-generated digital graphics that blossomed around 2005, studio models and sets were crafted by hand in various sizes for the needs of specific scenes. The scale of these models could range from a few inches to 20 feet or more, depending on whether the scene was wide or close-up.

Goodson exposes some of the techniques and materials used in Disney’s Mission to Mars, the science fiction film that came out in 2000. “We needed to create a scene with the surface of Mars” he explains. By strategically dusting Nesquik chocolate powder and cat litter over lava rocks, the team was able to “recreate” the surface of Mars. “It’s about figuring out what I can use, problem-solving to construct the best solution,” says Goodson.

For model makers, the work involved testing, research, and trial-and-error to produce just the right effects. Goodson would often research by observation and take along a camera or sketchbook to document what he saw. “When you see a

Today, the majority of digital effects and designs are computer-generated. The Model Shop from ILM, where once life-size models were rolled from set to set, or smoke billowed from controlled explosions, is no longer. It has been

Images Courtesy of ILM. Working on creating scenery for Star Wars: Episode II.


In order to get the exact results they wanted in recreating the motor, they watched raw footage of the opening scenes against a blue screen (allowing them to see only the model with no additional elements or background) and took it frame-by-frame to create a map of the colors that appeared in the motor.


“Randy programmed the LED lighting and then we designed a motor for the inside that would spin as accurately as possible to the original.” Goodson spent weeks in his garage testing the motor. “We applied the graphics, lighting effects, and worked constantly for two weeks to bring the model back to its original state. It was gratifying to have it come together.”

John Goodson, center; working on props for Galaxy Quest.

transformed to a more subdued business environment. However, Goodson still considers it “a pretty amazing place, with the technology only getting better and better.” Goodson notes that the best part of his job “is that each project comes with a different set of things I learn. It’s the hook—you have to go research and look at everything. And you realize there are all these different things that you never paid attention to.” Recently, Goodson was invited to participate in the Smithsonian Institute National Air and Space Museum (NASM) re-refurbishing of the Star Trek: The Original Series Starship USS Enterprise that has been on display at the museum since 1974. This 11-foot, iconic studio production model was used in the making of all 79 episodes from the original television series. The model has gone through previous restorations, and this final update for the Smithsonian was completed in early July, in time to honor the show’s 50th anniversary. It now resides in the NASM’s Boeing Milestones of Flight Hall, which opened July 1.

The restoration made Goodson nostalgic for his days at the College of Design, where he did an independent study project building the Enterprise for the Star Trek: The Next Generation pilot. “College was a blast,” says Goodson. “I loved the School of Design.” He refers to the Material Lab (previously “The Shop”) as “a ‘Godsend’— learning to use all of the tools was a gift.” It was there that Goodson himself was fine-tuned and given the preparation to land his dream job with ILM.

The Smithsonian curated a “golden” team of skilled individuals, including Goodson, all with extensive working experience with Star Trek and specializing in research, refurbishing, and construction of studio models. “Three of us from ILM did the work in conjunction with others on the committee. It was an impressive team of people,” says Goodson. He worked closely with Randy Neubert of VooDooFx and Dan Patrascu to meticulously restore every detail to accuracy. From paint color to the rotation of the lighting within the engines, the team wanted to make sure that the model represented what fans saw at the opening scene of every episode. John Goodson, center; working on props for Galaxy Quest.


An Inquisitive Mind Only two words are needed to sum up Billie Faircloth’s approach to architecture and design: question everything. Faircloth [BEDA ’92, B.Arch ’94] always has. Her design professors, Ellen Weinstein and Betsy West, noticed this propensity in Faircloth’s first Architecture studio at the College of Design. At the end of the semester, Weinstein and West presented every student with a gift. “They gave me of a mockup of the tabloid, The Inquirer,” remembered Faircloth. “They put me on the front cover. I had no idea as a 19-year-old how much I wanted to question everything, but they figured it out very quickly.” “In recent times,” Faircloth said, “I realized they saw me more clearly than I ever saw myself. It was very interesting [for them] to have made those observations so early.” That questioning nature has served Faircloth, AIA, LEED AP BD+C, well in her professional and academic life. Currently, she’s an adjunct faculty member at the University of Pennsylvania School of Design and at Harvard Graduate School of Design; visiting professor at the Royal Danish Academy of Fine Arts; partner and research director at KieranTimberlake, an architecture firm in Philadelphia; and author and lecturer.

by Betsy Rhame-Minor

rituals, and habits, and I understand that my role in the classroom is to shape the perception of agency through pedagogy. What we teach in the classroom shapes one’s perception of what they can accomplish in the world, and what I practice is based on what has been shaped for me. There’s a delicate balance between the two.”

“When I am teaching, I see every individual in that room, myself included, as someone who is learning.”

“I direct and legitimize questioning and methods for answering questions that happen to involve design processes,” Faircloth says. “Because of that I’m always defining and redefining what I think architecture is. Of late, my definition of architecture is simply this: the power to draw boundaries. That’s how I have proceeded. I know that’s my power, and I have to determine what to include and exclude when I proceed to practice design.”

Faircloth believes it’s the process of continuous questioning and continuous learning that’s key for design students before moving into their professional careers, and she hopes all of her students will employ it. She said, “I would encourage all of my students, and I think about this continuously, that this process, this dissecting what we know in order to know it better, is one we should fearlessly engage on any subject, especially the ones we feel we don’t want to know.”

Just as Faircloth has come to question the design process during projects with her colleagues at KieranTimberlake, in her role as a faculty member she encourages her students to do the same. In fact, Faircloth says, that’s what better prepares students to enter the design industry.

Even though she’s at the front of a classroom instead of behind a desk, she can relate to moments from her time as a student at NC State. Faircloth still remembers the most important question she was asked as a young design student.

“When I am teaching, I see every individual in that room, myself included, as someone who is learning,” she explained. “I also see every individual in that room who is designated as a student as my future colleague. What connects us together is that we both will engage practices,

“Dean Tom Regan asked me and my studio class, ‘How many things can you hold together in your head at once?’” said Faircloth. “It was significant


Billie Faircloth (center) discusses Pointelist, a tool KieranTimberlake developed to measure climate data on spaces, with colleagues Ryan Welch and Erica Ehrenbard. Photo Credit: Chris Leaman


Office space of KieranTimberlake

at the time because I realized that for my own design education, what I had been doing is picking up certain variables, examining them… So, ‘How many things can you hold together in your head at once?’ begs the question, how multivariant is the nature of your endeavor, and how well are you defining each of those variables?” Faircloth still considers that question from Dean Regan often, and poses it to her students. “One of the major drivers of change within the profession is our capacity to see these variables differently and to constantly challenge our own epistemological frameworks,” she said. Whether in a conference room or a classroom, questioning is a valuable and necessary part of the discussion of any design team, and it’s a practice encouraged not only by Faircloth but by KieranTimberlake as well. “Our firm encourages this form of practice that legitimizes questioning and puts questioning at the fore in a profession where we’re to operate with certainty,” Faircloth explained. “Questioning allows us to integrate research into our design practice. And often much of the discussion that we engage in is the degree to which we’re able to question. All of that begins to suggest that we’re committed to continuously engage the design process through questioning.” Faircloth notes, “My favorite projects are when I look across the table and I see people who alongside of me are wrestling with design, who have backgrounds in methods and ways of thinking that have come from places that I’ve never been, and the project is truly transdisciplinary.” This process is at the heart of what it means to be an architect. “I’m always and forever in the position of becoming a designer,” said Faircloth. “The more I engage the design of things, be it in buildings or hardware or software, the more I understand that being anything is always in a process of becoming. “I’m always wanting to become an architect.” 42

HAIG KHACHATOORIAN After more than 29 years of service to the College of Design, Professor of Industrial Design Haig Khachatoorian will be retiring from full-time professorship. Khachatoorian’s term is marked by his passion and dedication—a few of the many top character traits that lead the faculty at the College of Design. He has always considered the students to be his most important products, and his major role to be educating the future leaders of design. He has dedicated nearly 30 years to graduate education in the Master of Industrial Design program and recently the PhD in Design program. Khachatoorian is not only a decorated academic with a Fulbright-Hays Grant (1969-70) and a Loeb Fellowship from Harvard University Graduate School of Design (1985-86), but also has worked as a professional in the disciplines of design as a Vice President of RPA, Nexus America, and Dave Ellies ID, and on consulting projects with Citibank, Federal Express, and Porsche Cars North America. What brought Khachatoorian to NC State was his love of academia and working with students. “My true heart was working with students. I had a wonderful time traveling and working around the world, but I missed academic life,” he said. And, his return was the beginning of many successes and opportunities for the College of Design. Khachatoorian got right to work following his appointment as Head of the Department of Product & Visual Design (later named Industrial Design & Graphic Design) in June 1987. He had left his tenured position at Ohio State University in 1982, and after extensive practice and his Loeb year, he realized it was time for a change. “I saw a lot of opportunity to do some important work at NC State. There was a great heritage of Design, and all the disciplines were under one roof. I felt that the

ID graduate program needed some improvements and new developments. My basic construct was that I could bring the best of business practices and strategies, and use them as a critical model for our graduate program.”


Khachatoorian thus started developing the Industrial Design Master’s program, which at the time lacked clarity, depth, and rigor. To make the program more distinct and worthy, he focused on enriching the students’ interdisciplinary experience. To wit, he is the co-founder of the Product Innovation Lab (PIL), which is a cross-functional course that features team-based projects. In addition to co-founding the landmark course, Khachatoorian also developed more demanding requirements for the MID program, including implementing a final graduate (thesis) project, incorporating research methods, involving international exchanges of faculty, and increasing participation in design competitions in order to shape the program into what it is today. The program that Khachatoorian developed with colleagues from Management and Engineering is remarkable. It’s been running now for 20 years, and students produce works which are real-world driven and able to be used by sponsoring companies as conceptual prototypes. In 2009, the course was named by Forbes Magazine “one of the top-ten innovative business courses in the United States.” Khachatoorian’s proudest achievement is the development of this course and the recognition that came forth as a result. This honor put the College of Design on the map and allowed a crossdisciplinary cluster to be funded by a CFEP grant from NC State. To get the most out of the Master’s program, Khachatoorian reminds students: “It’s important to be passionate about your topic or research area; your work should contribute to design knowledge, and it definitely can be considered a springboard for your chosen career direction or be used as that edge for whatever industry one wants to enter. These three ideas are simple, yet very demanding.” The institution of this approach led to the production of graduate-level work and nationwide acknowledgement. Fellow colleagues at the College of Design have also been witness to the profound transformation of the program. Associate Professor of Industrial Design Bryan Laffitte gave a thoughtful reflection on Khachatoorian’s time at the College. “Haig has been a cornerstone of the Industrial Design Program, serving always with intense passion for the field of design and for the education and well-being of his students. His influence and mentoring of generations of students, many of whom are now leaders in the field, is a legacy that we as a department are privileged to acknowledge with our sincere gratitude.” In the near future, Khachatoorian wants to ensure that his summer session plans at ABK-Stuttgart are firm and the new Study Abroad program there with the College of Management is a success. He also wants to take time to read and write about design-related matters in addition to travel. To Haig, design is much more than a career option. “I can truly say, design has been my life’s adventure. It’s the element that has nurtured all of my experiences in the world. It has become my way of life.” 43

Public Interest Architecture:


Shaping Citizen Architects

hen Professor Emerita of Architecture Georgia Bizios decided several years ago that she wanted to begin phased retirement, she approached then-Dean Marvin Malecha and Professor of Architecture Robin Abrams with an idea. She wanted to start a program for students in Public Interest Architecture (PIA) that would include design studios, seminars, and paid internships with local architectural firms working to help nonprofits. “If you give me the leeway to do this program,” she told them, “I will get the money that we need to give the students.” Two years later, Bizios made her retirement official. She leaves behind a thriving PIA program centered around her passion for “architecture for the common good.” Bizios began teaching at NC State in 1986, after 12 years at Tulane University. She completed her graduate studies at the University of Oregon, where she was first introduced to the idea of Public Interest Architecture. “I always believed paying attention to what users need or want or wish for is important. I also had an attitude that good design is for everyone. I get quite upset about attitudes in architecture that are elitist about design. Iconic buildings, museums, airports, libraries—those are wonderful, and they deserve good design thinking, but so does somebody’s house,” she says. In 2004, she established the Home Environments Design Initiative (HEDI), which seeks research grants and promotes educational opportunities in home design and construction. It was one of the first curriculums to incorporate opportunities for students to both practice and study—that is, to get internship and academic credit. Two years ago, HEDI launched a PIA program that offers nine credit hours and includes design studios, seminars, and paid internships with local architectural firms working to help nonprofits. Bizios has fundraised approximately $400,000 in stipends for students and made it possible for them to receive hundreds of dual academic/Intern Development Program hours. Financial supporters include the NC State University Foundation; the NC State Office of Extension, Engagement, and Economic Development; the College of Design Strategic Research Funds; the National Endowment for the Arts; local nonprofit organizations; and local mentoring architecture offices. Bizios’ students are on the ground with community members, striving to pair their design ideas with the needs and knowledge of real people living in the neighborhoods they seek to improve. This way, their efforts become collaborative rather than intrusive. “Oftentimes universities used to go in and say, ‘here is what you should do,’” Bizios explains. “[They] try to impose the knowledge or expertise that they have without being sensitive to where they are coming from, and what we’re saying is, ‘we will contribute our three-dimensional thinking and technical expertise, and you [the citizens of the

Bizios’ studio collaborators have included the Durham Community Land Trust, Self-Help, and Families Moving Forward, all Durham based-community partners. Clockwise from top left: 1. Students, community members, and local architects meet to discuss the vision, expectations, and goals; 2. Students present designs to community partners (summer studio); 3. Bizios, Wakeford, and students at a presentation to community leaders (summer studio); 4. Partners from HH Architecture reviewing student works in Brooks (summer studio).

community] will contribute how you live, what is good about the neighborhood.’” Last spring, students attended a community meeting in Durham to present design ideas for affordable homes for families in Kent Corner. The meeting included community partners, mentoring architects from local practices, and residents with a stake in the direction of the new homes’ design. “There are these wonderful moments where [the students] are so moved about what they are doing or about their education,” Bizios says. “The majority of the students said, ‘this is the first time I had to present my work to people who are not architects. Up to now, every studio I’ve had I’m presenting to a group of architectural faculty and practicing architects. I’ve never had a user challenge me or ask me to explain my visual work and my concepts.’” Jocelyn Barahona (fifth-year B.Arch student) describes herself as fortunate to have been in one of Bizios’ final classes. She grew up in Durham and went to high school near the neighborhood where the homes were being proposed. “It was very rewarding to see how excited the community members were. They told us they could never envision what we had placed on these sites,” she says. A first-generation American and the first in her family to receive a college degree, Barahona feels called to serve neighborhoods like this one. “I want to use my education to better the lives of people in my community. Being able to be a part of this program has led me to have more of a career focus. I want to pursue something in public interest architecture; this class was a good way of finding where I fit within the scope of architecture.” Bizios, a fellow in the American Institute of Architects who has been a practicing architect since 1976 and has her own firm focused on residential architecture, Bizios Architect, has made other contributions to the field as well. She and her colleague Katie Wakeford co-authored “On Making and Becoming a (Citizen) Architect,” which was published in The Routledge Companion for Architecture Design and Practice: Established and Emerging Trends (2016). She’s also set many students on the path to success between the opportunities for growth she has created and her constant research to ensure they are reading the latest literature in the field. Often students are offered jobs to stay on with the firms where they intern, and others have reported that having internship experience on their resume led to acquiring a job. Don Tise, principal of Tise-Kiester Architects, says his firm has enjoyed having student architects on hand, thanks to Bizios. In an office with a communitycentered focus, he says, “The students give us a fresh perspective and energy. We give them the feel for an office environment, expectations within that environment, and typically their first glimpse at the ‘discipline’ of architecture in practice.” Bizios was honored this year with the Association of Collegiate Schools of Architecture’s Architectural Education Award for Practice and Leadership. As she steps out of her role at the College of Design, she reflects proudly on the program she has brought to life. “Often people challenge me and say, ‘this is an expensive program,’ or, ‘this is a small program,’ and my attitude is, ‘yes, it has to be, because it’s experimental.’ We’re a huge in-state institution, but we give very quality education through small classes and a lot of mentoring.” 45

by Monique Delage

QUICK FACTS OF MATERIALS USED: Area: 64.8 sf Budget: $2,000 Concrete: 46 bags (3,680 lbs) Lumber: 606 board feet Tires Donated: 18 Chain: 35 ft 46

Carriage Bolts: 27 (3/8ths) Hex Bolts: 14 (5/16ths) Lag Screws: 30 (5/16ths) Fender Washers: 130 Cut Washers: 120 Pictured:


everal million Americans live with Autism Spectrum Disorder (ASD), a complex developmental disability that, in extreme cases, makes simple activities or the experience of emotions challenging or even impossible. Many individuals with ASD cannot live independently and may experience difficulties with communication. The U.S. Centers for Disease Control and Prevention estimate that roughly 1 in 68 American children are identified with ASD, a ten-fold increase over the last 40 years. In North Carolina, individuals with ASD are supported financially through their first 20 years by the Individuals with Disabilities Education Act. Once they turn 21, however, they lose this assistance. Sam, Jake, and Robby are three young adults with severe autism who live in a group home and receive vital support from Living with Autism, Inc., a nonprofit founded by Hannah and Nick Ellis, to encourage them to become more self-sufficient, independent, and integrated members of their community. This summer, students from NC State’s College of Design became involved through the American Institute of Architecture Students’ Freedom by Design (FBD) community service program to make improvements to the young men’s home environment. The FBD Program uses the talents of architecture students to radically impact the lives of people in their community through modest design and construction solutions. With the expertise of faculty design mentor and Associate Professor of Architecture Bryan Bell, a thought leader in the area of Public Interest Design, the students collaborated in researching, designing, and building an outdoor play structure in the backyard of the group home. This structure would provide the three residents the opportunity to improve motor function, and sensory and tactile experiences—something individuals with ASD struggle with—in a safe, comforting, and consistent space. It was crucial that the students learn about ASD and its challenges, including communication, socialization, and rigid, inflexible patterns of behavior. One key discovery for the group was the trend among ASD individuals to express self-stimulatory behavior, also referred to as stereotypy, or “stimming.” This refers to repetitive actions or sounds that have a calming or stimulating effect and can help these individuals manage anxiety, fear, anger, excitement, anticipation, and other strong emotions. “Stims” include

a variety of actions and are triggers that help with overwhelming sensory input, including too much noise, light, heat, etc. “Each of the boys has a specific stim [technique],” stated Gabby Seider (M.Arch candidate), NC State’s FBD Director and LEED Green Associate. “It is a repetitive action that allows them to release anxious energy. We had all these action words that described stims that we [as a group] wanted to address in our design that encouraged ways to integrate calming actions.” Armed with this list: SWING, JUMP, CLIMB, THROW, and THINK; their collective research; pictures from the site, including a site map; data downloaded from the Geographic Information Services (GIS); a list of donated materials; and a positive outlook, the students gathered in early March to generate ideas. Tire walls, domes, tension ramps, hoops, and zip lines were all suggested as the students used their knowledge and creativity to dream up various design configurations. During the design charrette, four groups of students brainstormed solutions and developed quick design sketches. “From the very beginning, we ideated as many ideas as possible. All of the students who participated in the design process came up with their own concepts before we came together as a group to see how we could merge our ideas to create the best project possible. It was great to see everyone working together to achieve a common goal,” says Allison Menius (M.Arch candidate), past FBD Director. Menius’s uncle, Carl Suffredini, was the volunteer contractor who worked alongside the students to build the structure. These ideas were then presented to the key stakeholders representing Living with Autism for feedback. Their crucial input allowed the design to be optimally developed to reflect the needs of each of the residents. They generated detailed drawings, including foundation drawings of the concrete supports, details of the built-up beams, and tire-to-wood connections using the 3-D modeling programs AutoCAD and SketchUp. The team used guerilla marketing tactics to recruit participants for the build. Architecture student volunteers were able to receive Architecture Experience Program (AXP) hours, which are required for the architecture licensing exam. Over the course of five Saturdays starting in early July, the volunteers gathered to construct the prefabricated portions and assemble the various components of the project. In the end, they designed a play structure that incorporated and responded to the various stim behaviors of all of the residents. The wall of tires encouraged Robby to practice his aim, the ramp led Jake up to his Medieval Fort, and the tractor allowed Sam to work off excess energy. While simple in design, the structure strove to accommodate the variety of personalities and needs of the intended users. All three residents have responded positively and have been using the structure often, based on feedback from the client.

Top, L to R: Samantha Lackey, Allison Menius, Alexander Buck, Jake (resident), Gabby Seider; Bottom, L to R: Kelsey Morrison, Scott Needham, Robby (resident), Cathy L. (caregiver), Sam (resident), Hannah + Nick Ellis.

Study Abroad: An Experience of a Lifetime

by Monique Delage

today is via their computers, and I hoped that this program would encourage them to learn more and be inspired.” For College of Design undergrads, Study Abroad is required and is an opportunity to experience transformative personal growth, cultural diversity, and exposure to unique design thinking from a global perspective. Carly Owens, who was a participant in this trip, said, “It was a game-changer in what I want to do.”

(L to R) Angela Perez, Rachel Coates, Carly Owens, Ashley Outhouse, Giovanna Veltre, Jillian Paige, and Katelynn McCorquodale at RSN, Hampton Court Palace Gardens

“I encouraged students to get out as much as possible—go to exhibits that they had no interest in, just to challenge themselves—try new foods, use public transportation, and basically see every moment as an opportunity,” says Assistant Professor of Art + Design Katherine Diuguid as she discusses the study abroad program that she personally developed, organized, and led this past summer. The program, “UK: Stitching a Cultural Identity,” partnered with the Royal School of Needlework (RSN) at historic Hampton Court Palace. Diuguid led seven students on a five-week immersive experience that included four weeks of embroidery classes at the RSN, and 21 field trips comprised of private studio tours, museums, and exhibitions that exposed students to history, culture, fashion, costume design, and stitching within the UK. The program takes advantage of the robust history of embroidery in the UK and the richness of its museums and private collections. Additionally, as British culture has been affected by other cultures across the globe, students were able to identify and learn the influences of each culture in embroidery and the importance of stitching throughout British history. Diuguid hopes to be able to offer this program every other year. Diuguid infused her passion for needlework, embroidery, and embellishment as well as a decade of research and personal travel to the UK into the creation of this program. “My goals were to expose students to the exciting world of embroidery and share with them how stitching and design are so interconnected. So much of what students experience

Owens, an Art + Design student with a concentration in fibers and surface design, was completely inspired by the program and determined to pursue embroidery as a career path. “It was amazing to learn and experience the influence of embroidery and goldwork,” she continues. “I originally was planning on going into high fashion but have changed my emphasis to embroidery in haute-couture fashion.” Diuguid was stirred by a visit to Catherine Walker & Co., one of her favorite designers, who was influential in developing Diuguid’s passion for design, needlework, and the social and cultural importance of fashion. The tour was led by Walker’s widower, Said Cyrus, who still runs the business. Walker was responsible for designing many of the iconic gowns worn by Princess Diana. “As exciting as her designs were, what I loved most was her thought process and concept behind each piece. Walker routinely integrated details and motifs into her design of the country Princess Diana was visiting or the place the event would be held, and I was always so intrigued to read about it,” stated Diuguid. Cyrus prepared a presentation that covered the history and theory of Catherine Walker & Co., design symbolism, and the bespoke process (custom-made) used in their creations. The students were offered a rare opportunity: to see, touch, and turn inside-out the garments on display. Diuguid remarks, “Catherine Walker is one of the only true bespoke/couture houses still in existence in the UK where everything is made to measure for the specific client. The craftsmanship was impeccable, and I could not believe how generous [Cyrus] was with his knowledge and sharing of the entire studio.” Though they have returned from their travels, many of the students continue to stitch and have plans to expand their newly found passion and talents. Owen was recently awarded the Linda Noble and Craig McDuffie Study Abroad Scholarship, which will allow her to spend a week next summer in New York City studying with the Hand & Lock studio. Diuguid’s students toured Hand & Lock, London’s premier embroidery house renowned for its embellishment services to the Royal Family, top European design houses, the Royal Armed Forces, Savile Row, and members of the public. Owens recognizes how special this Study Abroad program is: “You are not confined to classes but exposed to amazing experiences. It is a once-in-alifetime opportunity.”

At left: Jessica Pile, designer at Hand & Lock, shares examples of traditional military, royal embroidery, and goldwork embroidery.

Photo Credits: Marc Hall



ur graduate program is about to welcome a new addition! The College of Design has been approved by the North Carolina Board of Governors to offer a Professional Doctor of Design Program (D.Des.). The Doctor of Design will be an online program for practicing designers who want to develop a high level of expertise to support existing and future work in areas like exhibition, building performance, curation, postoccupancy evaluation (POE), and more. In contrast to the interdisciplinary theory-based research conducted in the PhD in Design program, the Doctor of Design will focus on applied case study research directly related to the practice of professional design. The disciplines include architecture, art + design, graphic design, industrial design, and landscape architecture.

“The mission is to promote the creation and application of research in support of the efforts of professional designers who are actively creating the environments and artifacts of the future,” Associate Dean Art Rice explained. “This innovative program is a critical step in the process of connecting research to the professional design practice.” It is intended for and will be a great benefit to design professionals currently in practice, since they can participate remotely and through periodic short-term campus visits for intensive workshops and presentations. Efforts are currently underway to put the infrastructure in place, and soon a decision will be made regarding when the first students will enter the program!

THE EXPERIENCE DESIGN LAB Brooks Hall holds a wealth of valuable resources for Design students, and this summer it added one more: the Experience Design Lab. The Experience Design Lab (also called the IX Lab) is a collaborative space that encourages experimentation with immersive mediums like augmented reality (AR) and virtual reality (VR). Technology that explores AR and VR is cutting-edge, and the complexity can often be a roadblock for new users. The lab gives students the ability to access the media in a learning and research-based environment under the guidance of faculty who are adept with it. Associate Professor of Art + Design Patrick FitzGerald, who founded a previous multimedia lab with Lee Cherry, Technology Associate for Research and Scholarship, said the Experience Design Lab brings a new philosophy to the College. “I think with transition of the deans it was an opportunity to start it up with new people, new ideas, new faculty, with a philosophy of interdisciplinary research.” The space, located in Brooks 113, houses offices for FitzGerald, Associate Professor of Graphic Design Helen Armstrong, Assistant Professor of Art

by Meghan Palmer

+ Design Emil Polyak, Associate Professor of Landscape Architecture Kofi Boone, and Assistant Professor of Graphic Design Derek Ham. Participation in creative research by students and faculty from any discipline is encouraged. The Lab produces experimental projects that are intended to push the boundaries of how people view AR and VR. “Unless you put on a VR helmet, you just think it’s odd and clunky,” FitzGerald explained. “But when you put it on, you don’t really care anymore, because it’s just so compelling.” As the Lab gains more exposure, Ham hopes it will become a powerful resource in the College. “Freshmen in the First Year Experience have to go to the shop to understand the tools,” he explained. “Graphic design students—they learn how to use a band saw. They may never do it again, but they all were part of that experience. This kind of emerging media has to do the same.” Applications for the medium are still being researched, but could include training, entertainment, retail, education, and more. The nature of the Lab is inherently experimental. “If you think about the jobs of the future,” explained FitzGerald, “it’s probably going to be interactive, 360° media. We’re trying to take chances to push in that direction.” The Lab already has technology like Gear VR, Oculus Rift, and the HTC Vibe available for testing, and eventually they would like to set up headsets around the space for walk-in use. The beauty of the space is that it can evolve as dynamically as the technology itself. 49

Notes Professor Emerita of Architecture and Director of Home Environments Design Initiative Georgia Bizios, FAIA, was awarded the ACSA/AIA Practice and Leadership Award for the Public Interest Architecture Program. This award recognizes “best practice” examples of highly effective teaching, scholarship, and outreach in the areas of professional practice and leadership. Assistant Professor of Graphic Design Dr. Deborah Littlejohn was a keynote speaker at AIGA Design Educator’s Conference at Bowling Green State University, “Nuts + Bolts: Tightening Up Classroom Fundamentals, Reinforcing Careers, + Constructing the Future of the Discipline.” The conference was held for emerging and established design educators, administrators, students, and designers with a focus on stripping away the mystique of academia and helping build a solid foundational knowledge of discipline-specific teaching methods. Jason Carpenter [BAD ’97] won a 2016 Emmy for Outstanding Individual Achievement in Animation and a 2016 Annie Award for Best Animated Special Production for “He Named Me Malala.” Carpenter was an animator/designer for the documentary, directed by Davis Guggenheim. It follows the events leading up to the Taliban’s attack on Pakistani schoolgirl, Malala Yousafzai, for speaking out on girls’ education and the aftermath, including her speech to the United Nations; she won a 2014 Nobel Peace Prize. Chrissie Van Hoever’s [MGD ’14] student work, “Pattern: Learn, Create, Share, Repeat,” was selected by Communication Arts Magazine in the 2016 Interactive Competition and showcased in the March/April 2016 issue. Emily McCoy [MLA ’08], ASLA, PLA, was promoted to Associate Principal and Director of Integrative Research at Andropogon Associates, Ltd., in Raleigh. McCoy is an adjunct lecturer with the College.


Professor of Innovation + Design and Chancellor’s Faculty Excellence H. Christian Hölljes was appointed to NC Board of Science, Technology & Innovation by Gov. McCrory and to Carolina China Council Board.

Research Associate Professor and Director of Programs for the Natural Learning Initiative Dr. Nilda Cosco spoke with a group of 12 at TEDx Raleigh 2016 about opportunities childcare settings offer to provide children with benefits of a daily connection with nature.

Assistant Professor of Art + Design and Art2Wear Director Justin LeBlanc was invited to participate in US State Departmentsponsored humanitarian mission to Indonesia to raise awareness to fight discrimination and limitations placed on the deaf. The Advocate named LeBlanc to its “40 Under 40” for his talents, support, and advocacy for LGBT people and the deaf/hard-of-hearing.

The College of Design Natural Learning Initiative (NLI) will receive $359,205 for a project to promote healthy foods and active living through quality outdoor learning environments at childcare centers. The NLI team will work with Wake County SmartStart to link the Farm to Child Care project to centers, provide trainings for teachers and cooks, help centers integrate gardening activities with curricular opportunities, and engage parents to help change perceptions of local and fresh food, menu planning, and cooking skills.

Department Head of Graphic Design and Industrial Design Tsai Lu Liu spoke at the 2016 IDSA International Conference: “Making Things Happen Education Symposium.” Logan Free [MLA ’15] was named Presidential Management Fellow by the US Forest Service. In 2016, Free began a four-month developmental assignment, including serving as the Landscape Architect of the four National Forests in NC. He was also on the student team, which received the NCASLA 2015 recognition for the Student Merit Award in Communications for their work with Coastal Dynamics: An Outer Banks Regional Study. Byungsoo Kim [MID ’16] won 2016 GM Interactive Design Competition for “GMC L ANT: Furniture Transporting Service Design,” a drone concept that provides assistance with moving furniture from one location to another. Kim received a three-month paid internship at GM’s Tech Center in Warren, MI, and will have the opportunity to work alongside design teams from Cadillac, Chevrolet, Buick, and GMC.

Chandler Williams [BAD ’16], Emily Wise [Senior BID], Suh Park [Senior BAD], and Kevin Lee [Senior BID] received Second Place at the Walt Disney Imagineering Design Competition for “Ostium: An Adventure Behind Every Door,” an expandable, portable experience bringing the magic of Disney to guests who may not have experienced a Disney theme park in person. The 3rd edition of Distinguished Professor of Architecture Patrick Rand, FAIA, DPACSA, book with Edward Allen, Architectural Detailing: Function, Constructibility and Aesthetics, came out in March. In it, he systematically describes the principles by which good architectural details are designed. Dylan Impink [B.Arch ’16] was the recipient of the Linda and Turan Duda Travel Fellowship for 2016. Dylan plans to investigate the “alternative modernism” of Mexico City’s architecture and urbanity through the study of World War II emigrant designers, including Hannes Meyer, Max Cetto, and Mathias Goeritz of Germany; Félix Candela of Spain; and Clara Porset of Cuba.

Notes Associate Professor of Architecture Dr. Patricia Morgado was awarded the inaugural Faculty Award for the National Conference on the Beginning Design Student. The jury concluded: “Her inspiring teaching of beginning design is built upon a culture of sketching that empowers students to see and think through drawing, while enhancing the balance between analog and computer-aided methods in design education. She instills early habits of visualization that have lasting impact as students advance through the architecture program and begin their careers.” Lauren Lu [BGD ’15] is a Digital Experience Designer at Essential Design in the Greater Boston Area. Elizabeth Morisette [BED ’94] exhibited a solo show of her fiber art, “Fun & Games: Lively Fiber Work by Elizabeth Morisette,” at the Fort Collins Museum of Art. Her work incorporates toys and games in weavings and basket-forms to explore the consumerist nature of contemporary childhood. After a return from Hong Kong, where she participated in Study Abroad, Allison Press [BGD Senior] headed to San Francisco, where she is working with IDEO’s Education Studio for a six-month internship. Sally Van Gorder [MAD ’16], Jennifer Peavey [MID ’16], and Byungsoo Kim [MID ’16] received first, second, and third place, consecutively, in the Design category of NCSU’s 11th Annual Graduate Student Research Symposium, which showcases the work of graduate candidates and thesis projects for competition. Lizzy Lawrence [Junior A+D] won first place in the 3rd annual High Cotton Design Competition (2015); her paisley design will be a featured pattern in the High Cotton spring bow tie line. David Pearson [MID ’13] recently became a partner at Hill Country Woodworks, a furniture design + build company in Chapel Hill.

The 2016 Lifetime Achievement Award was presented to Professor of Landscape Architecture and Director of Natural Learning Initiative Robin Moore, Honorary ASLA. This award, given by NCSU Department of Parks, Recreation & Tourism Management, recognizes a practicing professional of at least 20 years who is not a graduate of the program and has made an outstanding contribution to the parks, recreation, tourism, sport, or golf profession. Associate Professor of Landscape Architecture, Co-Director of Coastal Dynamics Design Lab, and University Faculty Scholar Andy Fox, ASLA, PLA, was recognized by the Council of Educators in Landscape Architecture (CELA) for the 2016 Excellence in Teaching Award, Junior Level. “This prestigious award recognizes Fox’s continual commitment to the profession of landscape architecture and the innovative teaching practices and exceptional high standards [for] which he is known... The CELA confers this award to honor a faculty member’s excellence in creative, innovative, and effective teaching methodologies and practice.” Associate Professor of Industrial Design Bryan Laffitte received the Jenny Chang Award for Outstanding Student Service. It is the highest honor conferred by NC State’s Student Government. Liz Wardzinski, PhD in Design candidate, received a full scholarship to the London Summer School of the Victorian Society in America. Wardzinski will examine and explore the architecture, landscape, interior design, and decorative arts of one of the world’s great cities. Representing Landscapes: Hybrid is a new publication about mixed media tools used with digital materials to create a variety of diagramming and drawing options for landscape representations. Showcasing the best in contemporary hybrid design with innovative approaches for students and practitioners of landscape architecture. Associate Professor of Landscape Architecture Kofi Boone, ASLA, and Teaching Assistant Professor of Landscape Architecture Carla Delcambre, PLA, have been showcased in Chapter 6: “City of Raleigh: Testing Grounds.”

Three Design students were finalists in the 2016 Lulu eGames, NC State’s annual startup competition: Sunny Su [BID ’16] for SuperVIZE, which won judge’s choice, and PURE (both were entries in the B Corp Championship Challenge); Clara McDonell [BGD ’16] for Bark (pictured with her team), which took third place in the New Venture Challenge category; and Stephan Wadell [Junior A+D] for Alembic Headphones, which received judge’s choice. Duda|Paine Architects co-principal Turan Duda [B.Arch ’76] won the ACUI Facility Design Award for renovation and expansion of the North Carolina State University’s Talley Student Union. The landmark campus center was selected based on its excellence in design and impact on academic and student life experiences. Design students received 2016 Student ASLA Honor Award: Community Service category led by faculty advisor Assistant Dean for Research and Extension and Assistant Professor of Landscape Architecture Dr. Celen Pasalar. This effort attracted key partnerships among the College of Design; the youth empowered nonprofit organization, GrowingChange; NCSU’s Cooperative Extension; the UNC at Pembroke; the Department of Public Safety; veterans; faith communities; and local residents to design a vision to create a master plan that addresses the challenging issues in the communities of Scotland County, NC. Students: Juana Gibson, Student ASLA; Kyle Semon, Student Affiliate ASLA; Josh Leab, Associate ASLA; Beth Faragan, Associate ASLA; Pei Chi Huang, Student ASLA; Sarah Walters, Student ASLA; and Manpreet Kaur, Student ASLA. Wendy Painter [BEDP ’75] operates two exciting businesses in Western North Carolina: Created on the Mountain represents creative people in the North Carolina mountains; Mountain Popcorn Girls, which she co-founded, grows popcorn on a fifthgeneration farm using organic principles.


Notes Philip Freelon [B.Arch ’75] was named the 2016 International Interior Design Association (IIDA) Star Award Recipient. As noted by Cheryl Durst, executive VP and CEO of IIDA, “Philip is widely regarded as one of the top architects in the United States. He has elevated the profession by enhancing public buildings that all people have the opportunity to experience and enjoy. He is an inspiration [to] the next generation of AfricanAmerican architects, expanding the opportunities for diversity in the profession.” Associate Professor of Architecture and Director of First Year Experience Sara Glee Queen was selected as a University-level recipient for the 2016 Outstanding Teacher Award for her commitment to creative and innovational teaching and learning practices. She was recognized by peers and students for her excellence as a teacher and mentor. Associate Professor in the departments of Graphic Design, Industrial Design, and Art + Design Russell Flinchum, PhD, was featured in the Summer 2016 IDSA Innovation magazine with an article, “Phil Patton (19522015) The Best Friend American Design Ever Had,” which highlighted Patton’s design influence. Amanda King [BGD ’97] is Creative Director at M Creative in Winston-Salem and Vice President of AIGA Triad NC. Harry Bates [B.Arch ’52], co-principal of Bates Masi + Architects LLC, has received 113 design awards since 2003 and has been featured in numerous publications, including the New York Times, New York Magazine, Architecture Digest, Architectural Record, and Metropolitan Home. In 2016, Bates published Bespoke Home: Bates Masi Architects, with an introduction by Paul Goldberger. Cynthia Van Der Wiele [PhD in Design] heads up the US EPA Region 4 NEPA Program Field Office for NC.


Art + Design students Stephanie Huang [BAD ’16] and Anahid Telfeyan [BAD ’16] were finalists in the NCSU Libraries Multimedia Research Contest—Huang won the grand prize.

College of Design faculty and staff received the following (L to R): EHRA Award of Excellence to Director of the Materials Lab Jim Rains, FAIA; Alumni Distinguished Undergraduate Professor Nominee to Associate Professor of Landscape Architecture Fernando Magallanes, ASLA, PLA; Outstanding Teacher to Assistant Professor of Architecture and Director of First Year experience Sara Glee Queen; Alumni Distinguished Graduate Professor Nominee to Professor of Graphic Design Denise Gonzales Crisp; SHRA Award for Excellence to Technology Support Analyst and all-around Tech Guru Tih-Yuan Wang; and Board of Governors Award for Excellence in Teaching Nominee to Associate Professor of Landscape Architecture Kofi Boone, ASLA (not pictured). Amanda Tan [B.Arch ’15] has joined Shaw Design Associates’ team as an architectural intern. The awardwinning Chapel Hill firm specializes in high-end estate homes and liturgical design. The Carolina Ballet performed Macbeth, scored by J. Mark Scearce, Professor of Art + Design. The collaborators spent five weeks as resident fellows at New York University’s Center for Ballet and the Arts, where they composed and choreographed the score. It has 4,026 measures and is 887 pages long. The score weighs 42 pounds when printed. Rachel Gonsalves [M.Arch ’16] is a Fulbright Scholar for the 2016-17 year. She also received in 2012 a US-UK Fulbright Institute Award to Nottingham-Trent University and a Fellowship Advising Office Enhancement grant to pursue an internship at CO2 Bamboo in Nicaragua for “Tradition vs. Innovation: Cost-Benefit Analysis of Rwandan Construction Techniques.” Alexis (Gentle) Dominick [BGD ’04] is Creative Director at CircleBack, a startup in the DC metro area. Dominick was named one of DC’s most powerful female designers.

Assistant Professor of Architectural History and Design Dr. Burak Erdim, PhD, received two fellowships to support work on his book manuscript: the Mellon Fellows in Urban Landscape Studies, and the Postdoctoral Fellow in the Aga Khan Program for Islamic Architecture at MIT. Department Head of Landscape Architecture Gene Bressler, FASLA, received the NC ASLA 2016 President’s Choice Award for his dedication, commitment, and elevation of the profession. Christopher Goode [B.Arch ’80], AIA, of Tucker, GA, elected to the Georgia Trust for Historic Preservation Board of Trustees; Goode is a founding partner of Goode Van Slyke Architecture, one of three lead local firms for the new Mercedes-Benz Stadium in Atlanta, GA, that will host Super Bowl LIII (2019). James C. Stevens [M.Arch ’07], AIA, associate professor and interim chair of the Department of Architecture in LTU’s College of Architecture and Design, is the Fulbright Scholar in Albania. Stevens completed two months this summer, to be followed by seven months in 2017, of teaching and conducting research at Polis University, in Albania’s capital city of Tirana. Assistant Professor of Architecture and Director of Architecture Graduate Programs Dana K. Gulling is finalizing Manufacturing Architecture: An Architect’s Guide to Custom Processes, Materials, and Applications (Laurence King Publishing, 2017), a reference guide for architects and building designers for customizing repetitive manufacturing processes for architectural application.

Notes Sonika Rawal received her PhD in Design and unconditionally passed her Final Doctoral Oral Exam with her dissertation defense research, “Impact of Urban Park Design on Recovery from Stress: An Experimental Approach Using Physiological Biomarkers.” (Rawal, center, is shown with doctoral committee members.) Dr. Traci Rose Rider, Coordinator for the Design Initiative for Sustainability and Health, Research Associate, and Research Assistant Professor in Architecture, received the 2015-16 New Researcher Award from the Architectural Research Center Consortium. It celebrates the activities, accomplishments, and promise of scholars in the early stages of their research careers. Daniel Howe [MLA ’85], FASLA, is writing a book connecting the personal stories of National Park Rangers to the landscapes they are responsible for. Howe is adjunct professor of the practice with the College. Stacie Cox [BAD ’11] is a Senior Animator at 3C Institute, a Durham-based research and development company that creates evidence-based programs and web-based applications to globally promote health and well-being. Cox has hired two College alumni, who have been great additions to their team. Emily Walker [BENV ’83] is retiring after 27 years as the Graphic Design Manager at the Mint Museum in Charlotte. Jedidiah Gant [MAD ’15], media strategist at Myriad Media, spoke at Creative Mornings/Raleigh on “Reality.” He is a spirited entrepreneur who has launched numerous urban-based projects, initiatives, and foundations, including the Raleigh Murals Project, New Raleigh, and Flight. Gregory Modelle [M.Arch ’86], AIA, ASLA, owns a practice focusing on architectural and landscape architectural design in Somers Point, NJ. Work includes private resort homes, as well as municipal, institutional, and commercial projects. Modelle is also active in wreck diving and restoring antique Italian sports cars. The Variable, a full-service design agency founded by Keith Vest [BGD ’89], was recognized by Ad Age as the Southeast Small Agency of the Year.

Anthony Grieder [MPD ’86] completed the design of a new smart medication device for Intent Solutions, a Georgia company. The new device, called TAD for “Take As Directed,” was featured on NBC’s Today Show.

Ellen Knudson [BEGD ’92] is a book artist and letterpress printer, and her latest work, “Made Up,” was awarded the purchase prize at the 2016 College Book Arts Association member exhibition in Nashville.

Troy Barber [MID ’05] is Director of Client Experience at Eclipse Product Development in East Kingston, NH. Eclipse provides industrial design, product engineering, design research and usability testing, and user interface development services to device manufacturers primarily in the medical and life sciences.

Megan Kilpatrick [BGD ’04], CEO of Kilpatrick Design (with offices in Raleigh and Winston-Salem), recently celebrated 10 years in business and opened a third office in Denver.

Daniel Bruce [BID ’05] is Senior Designer at Wet Dog Glass, an industry leader in glass art studio equipment located in Star, NC. Professor Emerita of Graphic Design Meredith Davis published Teaching Design: A Guide to Curriculum and Pedagogy for College Design Faculty and Teachers Who Want to Use Design to Teach Any Subject. It provides a practical foundation for teaching about and through design based on an extensive career by Davis, and her experience in education offers a detailed path for the development of curricula. Eric D. Whiting [B.Arch ’98], ASAI, Senior Associate at Saratoga Associates, was lead designer on the Mohawk Valley Gateway Overlook pedestrian bridge, also referred to as the “Park on the River.” It will serve as both a tourist destination and a crucial link connecting neighborhoods on both sides of the river and was awarded the 2016 Engineering Project of the Year by the Capital District Chapter of NYSSPE. Danielle Foushee [BEGD ’96] received a new appointment as tenure-track Assistant Professor of Visual Communication Design in The Design School at Arizona State University. Dottie Haynes retired after 25 years of service with the College as Assistant Dean of Administration and Budget. We welcome Felicia Womack, who has taken on this important role.

Caleb Clauset [MGD ’01] is VP of Product at Typefi Systems Pty Ltd, an Australian-based solution provider for automated publishing software for print, online, and mobile. John M. Hall [BEDA ’74] is a photographer specializing in architectural, interiors, and garden photography. He has published numerous books, including Beidermeier with Angus Wilkie (Abbeville), Greek Revival America with Roger Kennedy (Stewart, Tabori & Chang), Private Gardens of Connecticut (Monacelli), and Adventures with Old Houses with Richard Jenrette (Gibbs Smith). His photography has been featured in The New York Times, The Wall Street Journal, Architectural Digest, Elle Décor, Veranda, and other leading publications, and his work has been exhibited in the Metropolitan Museum of Art, the Parrish Museum, and the Cleveland Museum of Art. Sara Bost [BAD (AA) ’06] lives in NYC and works as Senior Designer for Textiles at West Elm, where she designs all print and patterned bedding and pillows. Jesse Arnett [BEDA ’06] opened White Oak Residential Design in Greensboro, which specializes in residential design. Caroline Okun [BGD ’06] was promoted to Director of Sprout Patterns, a subsidiary of This initiative offers public indie sewing patterns that customers combine with designs to create customized cut-and-sew projects. Cheryl Caston [MID ’08] is principal of the multi-faceted design firm, CAMIC designs, specializing in product, graphic, and packaging design in Denver. Bethany Falkner [BGD ’16] was the recipient of the 2016 Wings on Wings College of Design award at Spring commencement.


Notes Elise Cormier [MLA ’06] founded design firm Smart Landscapes in 2009 and works in GA and AL. They launched their first Internship Program with two landscape architecture interns working remotely. Cormier is also adjunct faculty at Auburn University’s graduate program for Landscape Architecture.

In Memoriam Mary Ann Scherr [August 3, 1921 - March 1, 2016], a legendary artist and designer, passed away at the age of 94. Mary Ann was a vibrant part of the design community (the Roundabout Art Collective and NC State’s Crafts Center) and was awarded the College of Design’s Design Guild Award in 2000, along with her (now deceased) husband Samuel Scherr.

Courtney Richeson [B.Arch ’16] received the 2016 AIA Maryland Student Design Award for her projects Raleigh Institute of Contemporary Art and Raleigh Urban Garden for Youth. Richeson is an architect intern at VINE Architecture in Raleigh.

Scherr served on the board of Friends of NC State’s Gregg Museum of Art & Design. For more than seven decades, she earned numerous awards and accolades as an illustrator, designer, metalsmith, jeweler, educator, and sculptor. Her works are housed in the Metropolitan Museum of Art, the Renwick Gallery, and the Vatican Museum’s collection of contemporary art. In her early career, Scherr was a dancer, a talent that she continued to develop throughout most of her life.

Interdisciplinary summer studios led by Teaching Assistant Professor of Landscape Architecture Carla R. Delcambre, PLA, from the College of Design, and Associate Professor of Horticultural Science Julieta T. Sherk, PLA, ASLA, from the College of Agriculture and Life Sciences, received a Sir Walter Raleigh Award for the Community Service for Public Appearance category. Their studios collaborated with Beginning and Beyond Child Development Center in East Raleigh to design and install several playground and facility enhancements that encourage outdoor activities. Students include: Stanford D. Barnes, Lauren Browning, Yu Chun Chiu, Casey Daly, Corey Dodd, Andrew Harrell, Joseph G. Hayden, Alyssa Holland, Sarah M. Lasater, Lan Lou, Elizabeth Moss, Ainsley Mumford, Briana Outlaw, Austin Roland, Karli Stephenson, Fangzhou Xie, and Jinxin Zhen.

Kimberly Buff, AIA, LEED AP BD+C, [December 19, 1977 - August 3, 2016] passed away surrounded by her family after a two-month battle with leukemia. She was 38 years old. Buff was a Senior Associate and architect at Lord Aeck Sargent, Inc. in Chapel Hill and previously worked at Corley Redfoot Architects, Inc. During her time at CRA, Kim grew from an architectural intern to a project manager and made great work contributions on projects such as the Boshamer Stadium Addition and Renovation, the Stallings-Evans Sports Medicine Center, the Dean E. Smith Center’s Basketball Office Addition and Renovation, Woollen Gym (all at UNC), and Minges Coliseum at ECU.

Graduate architectural students Smith Marks and Paola Gonzalez received top honors in the NC Masonry Assoc. Foundation sponsored Unit Design Competition. The NC State team presented an innovative block design called “Angle Face Block,” which creates a unique wall appearance. NC State was one of three finalists that presented original concrete masonry units during NCMA’s Midyear Meeting in Coeur d’Alene, ID.


As an industrial designer, she designed household products such as the Tappan range and the Hoover suitcase vacuum. Her limitless skills included illustrating children’s books and designing game boxes, fashion, umbrellas, boots, and 3-D greeting cards. One of her most successful endeavors was a line of anodized titanium jewelry introduced in 1982 at the International Boutique Festival.

Buff received her architecture license from North Carolina in 2007. She received her Master of Architecture from NC State University’s College of Design in 2004 and her Bachelor of Science in Architecture from Clemson University in 2000. Buff is survived by her husband, Elliot, a landscape architect at Cline Design Associates in Raleigh, and two children, Delaney and Merritt. ’50’s Mr. Levi Frank Caldwell [B.Arch ’55], 04/02/2016 Mr. Robert L. Horn [BLA ’53], 04/29/2016 Mr. Thomas F. Marshall [B.Arch ’50], 12/16/2016 ’60’s Mr. Leo J. D’Aleo [B.Arch ’63], 07/10/2016 Mr. W. Dean Best [B.Arch ’64], 02/26/2016 Mr. Woodrow W. Jones, Jr. [B.Arch ’63], 02/09/2016 Mr. Jimmy H. Kluttz [BLA ’60], 08/14/2016

’70’s Mr. Junius M. Andrews, Jr. [B.Arch ’70], 04/09/2016 Mr. Richard Wayne Monroe [BPD ’72], 06/09/2016 Mr. Thaddeus K. Szostak [BEDA ’76], 03/12/2016 ’90’s Mr. Matthew D. Starr [BED ’96], 04/16/2016


Dean Hoversten getting acquainted with students at the annual Back-to-School BBQ

Dean Hoversten, Randy Hester, and Chuck Flink listen as Gene Bressler, FASLA, Head of the Department of Landscape Architecture, offers an update to alumni during the ASLA convention in New Orleans.

Built in 1962, Harrelson Hall was dismantled with 90% of the nonhazardous waste recycled.

First Year Experience: the Cardboard Project. It really is all fun + games! Designlife Gala 2016 Above: Frank and Charman photobomb Steve Schuster & Mary Anne Howard and Nnenna & Phil Freelon. At Right: Charman Driver and Frank Thompson receive Designlife Award from Interim Dean Art Rice and Designlife President Julie McLaurin.

Scholarship Reception: Katherine Peele (sponsor) and Jocelyn Barahona (architecture student), who is the recipient of the Boney Architects Endowed Scholarship.

Leaders Council group photo from the Fall meeting

Opening of A2W: FYE paper project

Design Ambassadors group photo from Open House with Sarah Brewer, Undergraduate Student Services Coordinator (bottom left)



by Monique Delage

Design, influence, making a difference, and giving back have all shaped Don Tise [BED ’80 + B.Arch ’83] and who he is. On July 1, Tise began serving a two-year term as President of the Designlife Board. He has been on the board since the fall of 2011. An alumnus, friend, supporter, and collaborator to the College of Design, Tise is looking forward to this new role and the opportunity to continue the success of the College, as well as ways to expand collaboration and support. Tise, a principal of Tise-Kiester architects, P.A., knows the importance of role models in the development of an architect or designer. He received support from his parents—a father who helped him with grade school projects, and an imaginative mother. “They were influential in fostering my creativity and willingness to think differently,” he says. He also found encouragement among his high school teachers and professors at the College of Design. “In college I had great teachers, such as Peter Batchelor and Frank Harmon, who were influential and amazing.” He also acknowledges the visiting lecturer and friend of Frank Harmon, Harwell Hamilton Harris, a modernist American architect and a Dean for the School of Architecture at the University of Texas from 1952-55. Harmon invited Harris to fifth year studios to provide feedback and conversation with students. “He was amazing, and after he retired, he lived near our school and did critiques for us [students],” says Tise. During his next two years in office, Tise hopes to repay the institution to which he owes his professional success. “The College of Design has meant a lot to me—the friendships I made while a student, the direction it has given me—all of this is very meaningful to me. What it has given me, I feel I should give back. Go big or go home.” 56

Tise is also concerned with positioning the College of Design for its continued success. “It is important to address the rapid change in design environments,” he says. “When I went to school, there were silos between the disciplines. Now, everything is integrated, which is important for students who will become professionals.” Tise would like to see a broader outreach in how the College relates to and collaborates with businesses and the allied professions. Tise-Kiester Architects has collaborated with the College for several years, participating in the Home Environments Design Initiative with Professor Emerita of Architecture Georgia Bizios. His firm has mentored and provided space and guidance to students who have worked with nonprofit community organizations on public interest projects, and hired student interns from the College. Tise also wants to see other alumni give back to the College, whether through donations or participation on the board. “Any kind of participation can help. What board members do is critical.” Professional outreach, like Harris’s participation, is also invaluable. “Alumni need to get involved in student activities like critiques and student reviews. This gives students a taste of reality and what’s going on. It gives them exposure and prepares them for the future.” This fall, the College of Design will launch a fundraising campaign. Donations will support, among other things, endowments to help students and faculty. “If you are an alumnus of the College of Design, I encourage you to make a donation. If your professional career was shaped by the College of Design, please consider giving back. We need to maintain the energy and the programs of the College for future students.”

MODEL INFLUENCE Mark Templeton [BID ’75], now retired after 14 years as a celebrated CEO of Citrix Systems, is this year’s recipient of the College of Design’s Distinguished Alumni Award. Templeton attributes a lot of his success to the “amazing role models” in his life. If not for his persistence, and for the wisdom and generosity of Dean Henry Kamphoefner, there’s a good chance Templeton wouldn’t have attended the College of Design. Templeton began at the NC State College of Engineering but never really connected with his studies. His grades were reflective of his discontent. It was the College of Design that piqued his interest. “I would walk around Brooks Hall and see what the design students were doing. I knew that was what I wanted to do, and I got inspired to go into environmental design in product design.” Unfortunately, he didn’t have the grades to transfer. “I went to Dean Kamphoefner and asked for advice.” Kamphofner surprised Templeton by encouraging him to look at UNC Charlotte, which was just beginning an architecture program. As a board member, Kamphoefner offered to provide a recommendation for Templeton. Templeton went for it. “In my second year of college, I started at UNC Charlotte in architecture, and after my first semester I realized I had found my calling.” He grew confident, came to love design, and excelled. “But it wasn’t the College of Design, the place I wanted to be,” he says. He decided to drop out, but he had a plan. “I went home and wrote Dean Kamphoefner a long letter and included work from my portfolio from UNC Charlotte.” He was hoping for additional guidance. What came instead was a letter informing him that there was a spot available in the College, but he needed to respond swiftly. “[I received it on] a Wednesday or Thursday, and by the end of the week, I had quit my job, packed my car, and by 8 a.m. Monday morning, I was standing in the Dean’s office to give him my answer.” “Dean Kamphoefner was a major factor in my life as a result. He cared about me enough to help me get started and then cared enough to get me into the College of Design,” Templeton says with appreciation. “He is one of those people who stepped up on my behalf.” Templeton is quick to give credit to his role models. “Having amazing role models is a blessing. And being able to pass those blessings along as a role model is what it’s all about,” he adds. “The reality of what other people do to support you—I like to always remember that and not take them for granted.”

by Monique Delage

The influence of his father, who was a small business owner and what Templeton refers to as a “Player Coach,” influenced his management and his communication style. “He genuinely was thoughtful and put his people above himself,” Templeton says. “He would delegate assignments to people and then share his responsibilities—he was my role model for that type of style of engagement with your team. When you are a ‘player coach’ and are hands-on, you develop a natural dimension of empathy that works wonders for leading people.” This is something that Templeton has done very well. As the CEO of Citrix Systems, a position he held until 2015, Templeton relied upon many of the skills Templeton shares his new Tesla Model X with ID and philosophies he learned while attending the students in Fall 2015. College of Design and considers this a competitive advantage. “Being a product of the College of Design and equipped with a full range of skills has been the core source of confidence in solving all sorts of problems and addressing unique opportunities in my life.” During his tenure, Templeton led a company-wide design thinking initiative with the goal of making design thinking a core part of the culture. Design thinking is something that he believes can benefit everyone and every discipline. This initiative was a driver that led to Citrix training between five and six thousand employees to think differently, be empathetic, understand the needs and habits of the customer, and think outside of the box. “I made the decision that design in the broadest sense—user experience, interactivity, both internally and externally—would need to be carefully crafted and curated as a competitive dimension of the company. I wanted Citrix to be the first or only enterprise software company that had an Apple-esque sense of design that was manifested in the products we created for the customer. The customer would appreciate our product over the competition,” he says. Templeton describes the Apple company as “trailblazers of design.” Templeton, who also received an MBA from Darden Graduate School of Business Administration, has been the recipient of numerous awards and accolades, including making Glassdoor’s 2013 list of 50 Highest Rated CEOs. As a businessman, designer, and entrepreneur, he is continually looking at opportunities to support community and charitable organizations. Recently Templeton became a member of the Leaders Council, which provides guidance, support, and resources for the College of Design and its students. This is just one more way in which Templeton can give back to something that he feels has given him so much. “The College of Design has produced so many incredibly successful designers and entrepreneurs, and to be cited among all of these really successful people is a privilege, and it touches my heart.” 57

Is Life Donald O. Tise, Jr. [President] Tise-Kiester Architects Jennifer H. Attride, AIA Clark Nexsen Scott Cutler Clancy & Theys Construction Company Steve Davis Steve Davis Design Douglas Hall, AIA, NCARB BBH Design Kenneth Luker, AIA Perkins+Will Matthew Mara General Shale Julie M. McLaurin, AIA, LEED AP O’Brien/Atkins Associates, P.A. Matthew O. McConnell McConnell Studios Craig McDuffie McDuffie Design Vansana Nolintha Bida Manda Laotian Restaurant and Bar Roula Qubain, AIA, NCARB, LEED AP BD+C Moseley Architects George Stanziale STEWART Emily B. Walser, ASID, LEED AP Workplace Consultant Frank J. Werner Oldcastle Kimberly J. Wicker, RLA Coaly Design PC Terry Yeargan DPR Construction

For 13 years, the NC State College of Design Urban Design Conference has been providing educational and collaborative opportunities to designers and planners across the country. With a focus on innovation, the conference engages thought leaders and professionals in meaningful discussion and informative lectures around novel solutions that encourage the planning and shaping of our urban built environments. This past spring, Design for Evolving Downtowns: People. Place. Practice. included four keynote speakers, eight casestudy presenters, and a multidisciplinary five-member panel. The conference was presented by the NC State College of Design in collaboration with the Raleigh Department of City Planning, the Downtown Raleigh Alliance, and the International Downtown Association. Mary-Ann Baldwin, who serves as VP of Holt Brothers Inc., executive director of the Holt Brothers Foundation, atlarge Raleigh city councilor, and co-founder of Innovate Raleigh, commented, “The conference was relevant to the issues facing Raleigh—issues such as lively urban spaces, equity, transit, and affordable housing. The speakers were engaging, and there were a number of takeaways. I was really inspired by the breakout session on culture-based economic development—how communities can use their assets to create jobs, tourism, and growth.” Additionally, attendees commented that the case study presentations provided inspiring real-world examples of the positive impacts thoughtful design can have on communities. The conference also spurred discussion and debate on the way civic and community leaders drive impact through their actions for years to come. Next year’s event, Designing Beyond Downtown: The Future of the Suburbs, will take place on Thursday, March 16, 2017 at the Downtown Raleigh Marriott. It is poised to deliver relevant discussion, ideas, and opportunities about the future opportunities and challenges designers face.

Registration and additional information:

SAVE THE DATE: 2017 Designlife Award Gala Honoring Marvin Malecha, NC State College of Design Dean Emeritus Saturday, April 22, 2017 6:00 p.m. Angus Barn Pavilion, Raleigh NC Thank you to our 2016 Designlife Gala sponsors: Main Sponsor:

O’Brien/Atkins Associates Entertainment Sponsor: Clancy & Theys Construction Company


Floral Sponsor: Surface 678 Dessert and Coffee Sponsor: Coaly Design, PC Media Sponsor: Design Story Work

NC State Launches an Extraordinary Campaign

by Laura Ertel

Comprehensive fundraising campaign will propel the College of Design to new levels of excellence and impact. On October 28, 2016, North Carolina State University officially announced the start of Think and Do the Extraordinary: The Campaign for NC State. This fiveyear comprehensive campaign aims to raise $1.6 billion to propel NC State forward as a university that makes a difference, where faculty and students think beyond boundaries and do the extraordinary in our collective quest to solve the grand challenges of a complicated world.

THINK AND DO THE EXTRAORDINARY aims to increase NC State’s resources in five priority areas: • Extraordinary Opportunity - Student support, including financial aid • Extraordinary Purpose - Faculty and research support • Extraordinary Places - Facilities • Extraordinary Experience - Enhance programs • Extraordinary Leadership - Areas of critical need These overarching fundraising priorities were developed through extensive conversations with alumni, friends, donors, faculty, staff, and students—all those who hold a stake in the continued success and excellence of this great university. The College of Design had a strong voice throughout this process. To learn more about the university’s campaign priorities and goals and the extraordinary impact of philanthropy on the College of Design, visit The THINK AND DO THE EXTRAORDINARY campaign is unprecedented in its depth and breadth, and will benefit every one of the university’s colleges and programs. For the College of Design, this campaign is about securing muchneeded resources to build capacity and strength through increased access and opportunity for our students and support for our world-class faculty, research,

education, and outreach programs. The college’s initial goal is to raise $13 million toward the priorities outlined on the following pages. Dean Mark Hoversten, who took over the leadership post in July, believes that the campaign comes at an ideal time in the College of Design’s history and growth. “NC State is one of the most unique and powerful design programs in the country,” he said. “The diversity and collaborative nature of our programs foster the innovative design thinking our world needs to address the challenges and opportunities that lie ahead. This campaign will magnify the impact of our Design community exponentially, as we strategically invest in the people and programs that make this college such an exciting and influential place to think, make, and do.” Executive Director of Development Carla Abramczyk, who will direct the college’s campaign, said that “private support is absolutely essential to the College of Design’s success, particularly in light of decreasing state funding for education. “Building our endowment is especially critical,” she noted, “because it provides a measure of certainty that enables us to plan for the future. Currently, the college’s overall endowment lags behind our peer institutions; this campaign is a great opportunity to remedy that and to build a strong fiscal foundation so we can remain at the forefront of design education, research, and practice.” Turn the page to learn more about key priorities for the College of Design’s portion of Think and Do the Extraordinary: The Campaign for NC State. 59

Designing Our Future Together Through THINK AND DO THE EXTRAORDINARY: THE CAMPAIGN FOR NC STATE, the College of Design seeks significant philanthropic investments in these key areas: EXTRAORDINARY OPPORTUNITY Scholarships and Fellowships Our commitment is to provide access to a superior design education for bright, passionate students from North Carolina, the U.S., and around the world through challenging, innovative programs at the undergraduate, graduate, and PhD levels. The College of Design’s stellar reputation draws ample interest from prospective students; unfortunately, we currently do not have sufficient funding to offer scholarships that are competitive with our peers’ financial assistance. Undergraduate scholarships and graduate fellowships often serve as a deciding factor for potential students when choosing the College of Design over competing programs.

OUR GOAL: Increase support for endowed scholarships and fellowships across all of our academic programs, to open doors to an NC State design education to deserving students.

EXTRAORDINARY PURPOSE Faculty Support The foundation of the college’s excellence rests on our world-class design faculty: exceptional teachers, researchers, and mentors who bring diverse and creative approaches to collaborative research to address society’s most pressing concerns; share their expertise to serve communities near and far; and apply innovative teaching methods to prepare our students to be the bold leaders of tomorrow. Faculty support through endowed positions is one of the most important tools for any college or university in recruiting and retaining top talent. To date, Design is the only college at NC State that does not have a single endowed professorship. 60

OUR GOAL: Secure funds to establish several endowed professorships throughout the college to more successfully attract and keep outstanding faculty, as well as endowed faculty research awards to help cover vital costs such as travel for conferences, research, and graduate research assistantships.

EXTRAORDINARY EXPERIENCE Support for Programs Because the practice of design requires broad thinking and an open, informed perspective on the world, the College of Design infuses our educational programs with a range of extraordinary learning experiences that extend beyond the classroom—and beyond borders. All Design undergraduates participate in a study abroad experience and unique hands-on opportunities such as the electrifying Art2Wear fashion show, the student-run Fish Market Art Gallery, and Design/Build Studios that inspire our students and set apart the NC State design education. Many of our programs extend to communities throughout North Carolina, where we fulfill our landgrant mission by providing expertise and assistance on a range of challenges facing our fellow residents.

OUR GOAL: Increase endowments for the extraordinary experiences that enhance students' design education, including: adding study abroad scholarships to help ease the burden for students as they engage in this extraordinary international learning experience; building an endowment to support our Art2Wear program; and establishing a Design/Build Studio Fund to underwrite the costs to transform students’ innovative design solutions from concept to reality.

Meet Design’s Campaign Chair

EXTRAORDINARY PLACES Support for Facilities Improvement The College of Design has been blessed with well-functioning spaces for learning, creating, and collaborating. While no major new construction projects are envisioned during the campaign, we must update some of our existing facilities to keep them current. This includes upgrading equipment and technology in the Design Materials Lab, Bayley Information Technology Lab, and in the design studios at the Prague Institute, where our students immerse themselves in a city full of artistic and architectural treasures.

OUR GOAL: Secure funding to keep our existing design facilities functional, conducive to learning, and on the leading edge of technology.

EXTRAORDINARY LEADERSHIP Annual Giving Annual giving to the Designlife Fund is essential to the College of Design’s ability to excel on a daily basis. Gifts to the Designlife Fund provide vital discretionary support that the dean can allocate quickly and flexibly to any area of the college where it will make a difference, whether toward a student activity or field trip, to upgrade educational technology, send a faculty member to a professional conference, launch a new community outreach program, or organize an exhibition of student art.

OUR GOAL: Increase annual participation and levels of giving for the Designlife Fund to provide a robust and growing base of annual support needed to propel the college forward.

THINK AND DO THE EXTRAORDINARY: THE CAMPAIGN FOR NC STATE HAS BEGUN! Over the coming months and years, you will hear much more about the College of Design’s role in the university campaign, progress toward our $13 million goal, and the impact that your philanthropy is making. While we are a small college, we are a strong community. We have set an ambitious goal that is highly achievable if the Design community comes together with its characteristic enthusiasm and generosity.

To learn more about the College of Design’s fundraising campaign and how you can get involved, visit To discuss how you can make a difference through a philanthropic investment in the college, contact Carla Abramczyk, Executive Director of Development, at or (919) 513-4310.

Mary Anne Howard and Steve Schuster, FAIA [‘73]

Steve Schuster’s days as an undergraduate at the College of Design had a profound impact, not only on his esteemed career in architecture, but on his entire life. He views his role as the College’s campaign chair as a way to give back and to provide similarly life-changing opportunities for others. In particular, Schuster noted, “the College of Design routinely competes for the best and brightest students and faculty with other schools that have much deeper pockets than we do. This campaign will help us level the playing field by building our financial resources for scholarships, fellowships, professorships, and other critical areas of need.” Schuster, the College’s 2012 Distinguished Alumnus, is a national leader in the historic preservation community, and is founding principal of the Raleigh-based, award-winning design firm Clearscapes. His work can be found throughout the Triangle and beyond, including the Raleigh Convention Center, Exploris (Marbles) Museum, and the Haw River Ballroom. He has been a volunteer leader and generous supporter of the College of Design and NC State for decades, and currently represents the College’s interests on the university’s Foundation Board. In anticipation of the campaign’s launch, Schuster and his wife, Mary Anne Howard, recently established an endowed student scholarship to help train the next generation of architects. He and Mary Anne were pleased to be able to support the endowment. “This campaign is such an important opportunity for the College of Design, and reaching our goal will take help from everyone in the Design community. The amount of your gift doesn’t matter—it’s the fact that you’re willing to support the college and the university, at whatever level you feel comfortable. If everyone in our community gives at a level that is significant for them, we will be incredibly successful 61 in this campaign, and not only meet our goal, but exceed it.”

THANK YOU! Listed below are donors to the College of Design (individuals, firms, companies, and foundations) who contributed $100 or more between July 1, 2015, and June 30, 2016. The list includes in-kind donations and planned gift commitments. Please accept our deepest apologies for any errors or omissions. $100,000+

Cotton Incorporated Empire Properties Family of John Evans Rice Fentress Architects

J. H. Purvis, Jr. Kathy Gruer and Brian Shawcroft Angela D. Sherrill STEWART Surface 678 PA Triangle Community Foundation Katherine White and Thomas Urquhart Timothy F. Winstead

$25,000 - $49,999

$1,000 - $2,499

Blue Cross and Blue Shield of NC Foundation John Rex Endowment


Mary Anne Howard and Steven D. Schuster Fred M. Taylor

$10,000 - $24,999

AIA Triangle Sandra and John L. Atkins III Harriet Cooper Marty Butner Covington Linda and Turan Duda Goodnight Educational Foundation Grace Management Group International Business Machines Corp. LG & E Energy Foundation Ann and Irvin Pearce

$5,000 - $9,999

Adams an Oldcastle Company Jessica Thomas Capps and Timothy Capps Clancy & Theys Construction Company Clark Nexsen Foundation David Allen Company GinnDesign Tammy and Walter R. Havener Robin C. Moore NC Masonry Contractors Association, Inc. O’Brien Atkins Associates PA PlayCore Juanita Shearer-Swink and Rodney L. Swink Yvonne and Mark Templeton Holly and Paul Tesar Vines Architecture, Inc.

$2,500 - $4,999

AIA North Carolina Eastern Section Anonymous C.T. Wilson Construction Co., Inc. Clearscapes PA Coaly Design PC Joe Colwin Phyllis S. Cowell Jane C. Curtis and Richard A. Curtis Design Story Works Duda|Paine Architects Teresa L. Hawkins McAdams Company Jane and Richard E. McCommons NC Chapter ASLA Linda Noble and Craig McDuffie Bill L. O’Brien, Jr. Perkins+Will


Robin F. Abrams AIA NC Winston Salem Section Maria Angelo Balfour Beatty Construction Bida Manda Paul D. Boney L. Franklin Bost Martha and Paul Braswell Peggy Breeden Karen and Gene Bressler Cline Design Associates ColeJenest & Stone PA Construction Specifications Institute Nilda G. Cosco Rufus G. Coulter Nancy and Reginald H. Cude Danis Construction Company Thomas F. Darden Steve Davis Design DHM Design Jeanette and William H. Dove Royce M. Earnest Paul H. Falkenbury Marjorie Strauss Flink and Charles A. Flink II Hanbury Evans Wright Vlattas Company HH Architecture PA Highwoods Properties, Inc. Holt Brothers Foundation Sue C. and Randolph M. James JDavis Architects PLLC Irwin E. Jones Thane Kerner Karin Ganter and Kenneth Luker Teresa A. and Matt Mara Tracy and John Martin Julie M. McLaurin Justin S. Miller William G. Monroe III Eugene R. Montezinos Odell Associates, Inc. Katherine N. Peele Plenty Flowers Wallace and Bill Prestwood David Ramseur RATIO Lisa and Stephen Robertson Rodgers Builders, Inc. Susan and Michael Rota Carolyn and Daniel L. Solomon The PNC Financial Services Group Charles L. Travis III Michael Tribble Michele and John Vernon Barbara and Douglas Westmoreland WithersRavenel Fiona and Scott Wolf Terry Yeargan

$500 - $999

Carla and Bernard Abramczyk AECOM Susan A. and Robert A. Aliota Vickie A. and Karl E. Andersen Lisa and Thomas Barrie Carson H. and Bryan Brice Brodie Contractors Kathleen A. Butler and Henry K. Burgwyn Don Collins Dewberry Russell A. Flinchum William L. Flournoy, Jr. Allison and Scott Garner Megan K. and Ryan T. Harrison Betsy and William Hood Loretta Shaia and Daniel Howe Jenkins Peer Architects PA JKA Services, Inc. Cynthia and Marvin Malecha Linda P. and Barton T. Meeks Moseley Architects Vansana Nolintha April and David Parker Chihiro and Lynn Powell Larry D. Pressley Roula and Joseph S. Qubain Kristin Rey and Michael A. Rubel Jolie and Jon S. Rufty William Singer Sitelink Software LLC Carol H. and Samuel G. Stephens Patti B. and Walton R. Teague Patricia and John Tector David K. Tester Cynthia P. and Thomas A. Trowbridge Emily B. and David B. Walser Albert G. and Nancy C. Wordsworth

$250 - $499

Theda B. and Laurin B. Askew David N. Banko Harry Bates Brooks Bell Megan E. Bowles Kim and Rich Caldwell Patricia A. and H. Clymer Cease, Jr. David L. Cozart Donna P. Duerk Anne B. Faircloth Jeffrey C. Floyd Frank B. Golley Graham Smith Richard J. Green Urbanna M. and Archie P. Gupton Jaclyn A. and George C. Hage Suzanne and W. Easley Hamner Dorothy and Robert Haynes H. Christian Holljes Joyce M. and Richard P. Hotz Leigh C. Hubbard Steven A. Hurr Doris Hurr David N. James Linda Jewell and Raymond Freeman II Johnson Concrete Company Steve Knight

Karen V. Larsen Rhoda and Thomas Lawrence Edward Lui Mark V. McDonald James W. McKay, Jr. David T. McQueen Steven S. Medlin Anne McLaurin and The Honorable Charles C. Meeker Rebecca H. Mentz Gary Eugene Mertz Anne C. and Joseph R. Michael, Jr. Robert G. Miller Kenneth M. Mull Patricia Parker and Alan Nagle One on One Design Robert S. Peterson Mary Hoffman and O. Earl Pope, Jr. T. B. Ridgeway, Jr. Kathleen C. and Michael J. Rieder Claire and John Rodgers Richard F. Seggel Jim W. Sherrer, Jr. Eric B. Smith J. Ray Sparrow Linda Sue Stone Bessie and Constantine N. Vrettos Larry K. Walters Sandra and Frank J. Werner Christy White Nancy H. and Steven R. White Leslie and Marshall Wilson Barney Woodard, Jr. Rosemary and G. Smedes York

$100 - $249

Karl Amelchenko American Dream Residential Anonymous Sarah E. Anthony David L. Arnold Joseph P. Arnold Odette and Claude Arnold E. W. Baker, Jr. Wendy Miller and James Barefoot Marla and Rick Barnard Charles E. Barnes, Sr. Elizabeth B. and Marty A. Beal G. A. Belanger Belk Architecture Lesley P. Bender Douglas M. Bennett Benjamin D. Benson Alan D. Bolzan Donald L. Branch Kelly and Bruce Branson Chris E. Brasier Margaret F. and Theodore D. Bratton Bruce D. Vander Wiele Architect, Inc. Lydia D. Burns Elizabeth P. and Charles R. Carmalt Andre Carpenter Margaret A. and Alexander L. Carter II Mary Cece Joan W. Chase

Beth N. and Thomas F. Cheney Maria T. and Curtis H. Chi Citylink Construction LLC Deborah and Walter Clarke III Julie S. and James A. Claywell Clement & Wynn LLC Coen Design Concept Masonry Brielle M. Cordingley Joseph A. Cox R. M. Craun, Jr. J. Scott Crowe Custom Brick Company, Inc. Virginia Dato Shanda H. and David J. Davenport David Bunn Custom Match Colors Marlys A. De Alba Teresa G. and Jock deBoer Beverly and John DeMao, Jr. Adam C. Derbyshire Thomas P. Duffy Linda H. and C. R. Duncan, Jr. S. Worth Dunn III Emily S. and Alexander Bradford Earle Terry B. Eason Ronald R. Engleman, Jr. Lekita W. Essa Sallie T. Everette Traci L. Farmer Jerry D. Fink Fred S. Fonville Leslie J. Fowler Rachel L. Gamage Kathleen T. Gebbia Shawn Gillen Lani and Warren Ginn Bethany P. and Jamey E. Glueck Edmund J. Gontram III Susan and Raymond Goodmon III Greenways Incorporated Linda B. and Robert S. Grew Meredith A. Haake Halvorson Design Partnership, Inc. Lincoln Penn Hancock Brett F. Hardy Kay M. and Kenneth E. Harkins Robin L. Harris and John R. Arnold, Jr. Ellen H. and Samuel L. Harris Polly R. Hawkins HD Supply White Cap Julie Heflin John Heflin Barbara A. Herring Molly Hester Karen L. Hobson G. Bonson Hobson, Jr. Edward K. Hodges Christine M. Hoeffner Stephanie H. and Bud Holland John F. Holmes, Jr. Nick A. Hondros Mark H. Hough Donald Howard Andrea Hoyt Jane S. Isley Lynn C. Ives Herbert Jeffreys Brian C. Jenest

Jeanette H. Johnson M. Lou and Alan F. Jurkowski Rebecca T. Kalsbeek Nicole Kassolis Matthew D. Kavanaugh Richard E. Kent Haig Khachatoorian Elaine S. and Neal I. Kitt Sue Koenigshofer Jennifer A. Over and Travis D. Konkle Diane B. and Charles T. Kunz Samuel F. Lebowitz Corey Elizabeth Levi Robin P. and John S. Lilley Leye Lin Katharine A. Lipe Tsai Lu Liu The Mahler Fine Art Sharon A. Marcussen Felix D. Markham IV Nancy J. Mason Daniel A. McCanless, Jr. Emily R. McCoy and Benjamin J. Monette Marcia H. and Robert J. McCredie Robert W. McDaniel Katherine C. and Richard C. McElroy Elisabeth and Todd McGowan Marica McKeel Charles L. McMurray Julie Anne McQuary Julie G. McVay Colleen M. Allen and Gregory R. Melrath Michael Cole Campus Planning PLLC Nancy Hughes Miller Emily Therese Millette Jack E. Monroe Monty Montague Martin T. Moore Millicent P. Mooring Glenn Morris Julie M. and Mark L. Morris III Lyn Walls and William D. Moser, Jr. Thomas B. Moss II Christina W. and Timothy A. Myers Lynn C. Nash Ruth H. Neely Meredith A. Nelson and Keith Donahue Susan K. Nutter and Joe A. Hewitt Thomas W. O’Brien P & D Architectural Precast Palmetto Brick Corinna Carolyn Bailey and Kirk Parker Ashley G. and Chadwick N. Parker Cathy and Dwane A. Parsons William M. Pate, Sr. Megan C. Patnaik J. J. Peterson Kaola and Frank J. Phoenix Pinnacle Masonry, Inc. Melody A. and Paul B. Poetzsch William F. Pritchard John E. Ramsay, Jr. K. C. Ramsay

Shari and J. Patrick Rand James C. Ray Donald J. Rethman Jeffrey S. Rideout Roanoke Cement Michael T. Roberson SooHuan T. and James Romano Nicholas W. Romanos Jackie and Eric D. Romanos Barbara Rosner Frances C. and Stanley M. Ross Robert L. Sams, Jr. Jonathan D. Sanders Sandy Feat Susan E. and Mark A. Sangiolo Walter B. Sawyer Rebecca S. and John R. Sawyer Michael and Karen Schley Foundation Jeffrey H. Schoellkopf Billie Jo and Edward Schweitzer The Scout Guide Marie T. and Eugene G. Senecal Thomas W. Shaw, Jr. Sherman Architecture PLLC Martha and Charles A. Sides Thomas G. Sineath Mary C. Sox and Henry H. Rogers II Kerry Sprick Kenneth D. Stafford James C. Stevens, Jr. Frederick E. Taylor Heather H. Taylor Trevor Thomas Tonic Design Professional Corp Triangle Brick Company Mary and Jerry M. Turner Leah G. and Runyon Tyler Vert & Vogue Chad M. Volk Kim Vonweihe Mary C. Wakeford Kelley Frei-Lahr Waldrop Elaine M. Walker Curtis J. Boe and Michael K. Warner Pam and Bob West Lawrence J. Wheeler Benjamin Whitener Whitman Masonry Teresa M. Herbert and John L. Widman III Ilana and Bill Wilcox Judith Law Williams Catherine S. and Mason L. Williams Stan Williams Julia L. Wilson Amy C. Wise Felicia D. and Joseph Womack Mike Woollen Denise L. Almond and Douglas M. Wrenn Betty T. and Arthur J. Zucker

Works The new entrance globe light for the Folkmoot Friendship Center in Historic Hazelwood, NC, was designed and constructed by two students with Assistant Professor of Architecture Sara Queen. Conor Lenhardt [BGD sophomore] and Peter Rozakis [BID sophomore] designed this nearly 5-ft, 80-triangle octacontagon based on Buckminster Fuller’s 20-sided dodecahedron projection of the earth. The globe is constructed from translucent acrylic plastic, which was laser cut and etched with the earth’s continents before being sand-blasted and painted. The globe form is supported by over 300 custom-made brackets connecting each of the triangles together.

Art + Design senior Sydney Jones is creating the Miracle Makers Collection, a line of patterned homegoods aimed at adding energy, color, and positive space to hospital environments, specifically for children and teens facing illness. The project is part of ADN480: Product Development led by Associate Professor of A+D Katherine Diuguid. The products will be developed to be purchased individually or as a complete package/gift for patients. The funds raised will support Duke’s Children Hospital (DCH). The collection includes pillows, blankets, garments, and a tote filled with youth activities. Jones is interning with Arts for Life at DCH.

Critter Crossings

Planet Mizbee

Villains No More


ADN 460 Multimedia and Advanced Digital Imaging Studio | Intro to Game Creation by Assistant Professor of Art + Design Emil Polyak: 20 students worked in groups on this kickoff project, designing and fabricating hybrid, analog-digital board games. The brief asked them to research how multidisciplinary sustainability education could utilize games in the classrooms. Their games focused on four unique age groups and will be used in a research study to evaluate the potential in real scenarios. Each game utilizes a tablet app and a physical board game that are connected to deliver challenges to participants. Critter Crossings: Target age group of 6 to 9 by students: Sarah Albright, Monica Nguyen, Connor Shipway, Catherine Thomas, and Kimberly Zoll. Planet Mizbee: Target age group of 9 to 12 by students: Bethany Cantrell, Isabel Hennes, Emily Parker, Madison Tart, and Zoe Winton. Villains No More: Target age group of 12 to 15 by students: Lucas Gargano, Kelsey Huff, Julia Lineberry, Kierston Morrison, and Suh Park. EOTERA: Target age group of 15 to 18 by students: Dylan Bryant, Amanda Dean, Matthew Gluf, Christopher Hall, and Cassie Sun.



CAMPUS BOX 7701 RALEIGH, NC 27695-7701

hings We Like


Megan Fowler + Amanda Pearlswig [Graphic Design seniors], founders of Brooks Designs, LLC, a small company named after its place of inception, Brooks Hall of NC State’s College of Design campus. The company focuses on designing local artwork for RDU and the surrounding area. The stickers are sold at Deco Raleigh in downtown Raleigh and online at our etsy shop: BrooksDesignsCo.

Annie Gray Gibbs [A+D senior], founder of Annie Gray Handmade, is an artist + designer who focuses on creating a collection of affordable sophistication. Quality materials such as semi-precious stones, gold-filled chain, fine leathers, and handcrafted metals demonstrate lasting wearability. The jewelry is designed to complement the pieces you already own—it is effortless and ideal for layering. The Deco Cuff is a solid brass statement piece. The hand-wrought bracelet is sturdy and can be sized to fit your wrist. Ready to ship and available at:

Professor Emerita of Graphic Design Meredith Davis new book, Teaching Design : A Guide to Curriculum and Pedagogy for College Design Faculty and Teachers Who Use Design in Their Classrooms. Teaching Design provides a practical foundation for teaching about and through design. The exploding interest in design and design thinking calls for qualified faculty members who are wellprepared for a variety of institutional settings and content areas. Available via Associate Professor of Graphic Design Helen Armstrong new book, Digital Design Theory: Readings from the Field (Design Briefs) bridges the gap between the discourse of print design and interactive experience by examining the impact of computation on the field of design. As graphic design moves from the creation of closed, static objects to the development of open, interactive frameworks, designers seek to understand their own rapidly shifting profession. Available on